Kanashimi’s lament revives.
Born in 2007 in Japan, the project led by O. Misanthropy (vocals/all instruments, Ahpdegma, ex-Samayoi) announces in 2023 the release of Yamiuta, its third album, on Talheim Records.
Anchored in a haunting, hazy mix of heavy Funeral Doom coupled with gripping Depressive Black Metal, Kanashimi‘s music moves slowly, letting ominous clean vocals and visceral Japanese screams haunt us. We also notice that keyboards have an important role, sometimes bringing some touches of softness to this dissonant and oppressive cloud, which briefly ends with the track before being bringed to life again to embody the heady melancholy its creator sings.
Yamiuta, like its two predecessors, is composed of six tracks with their own identity, marked by the torments of time and life. Whether The Funeral Song, the first track, relies a lot on vocal changes while the soothing rhythmic shrouds us, we will especially notice clean vocals on Samidare, a slower composition which reaches us in waves. Drums play an essential role on this walk in the heart of oppression, leading us to Yurari yurari and its ominous sounds which perfectly correspond its sinister title. Whether its first half lets us drown in the foggy sound, keyboard will lead us alone to the crushing final part before Yamiuta, the eponymous track, lets howls of despair appear again in its enchanting rhythmic. Tadoritsuku Basho, the next track, makes oppressive and dark sound slow down again while letting keyboards fly over the simple but raw riffs which regularly blaze to accompany vocals, eventually let a carillon show us the way to Lullaby, a short last composition on which Crying Orc (Felvum, Këkht Aräkh…) lends his sweet voice to the soaring melody that closes the album.
Kanashimi’s universe remains as seizing as ever. The musician’s complementary influences perfectly melt to make Yamiuta the raw and purged expression of a nameless sorrow which crawls, waiting for its last breath, while bewitching us.
90/100