Owing to the departure of both the keyboardist and co-founding guitarist shortly after having recorded their own takes, the lasting members of THE GREEN EVENING REQUIEM, led by drummer Evan Madden, had no other choice but to ‘mix the album from scratch’. Even with their involvement in other projects, the most notable of which are WOODS OF YPRES and WOE, putting the band on hold was not a negotiable alternative. Subsequently, “Bastards Of Atlas” was released in March on a pay-whatever-you-want basis, giving those interested in checking the band’s sound the freedom to download the debut for the price they find most convenient. As for the album’s monetary value, the matter is one of affordability; however, musically, “Bastards Of Atlas” is certainly worth your while, attention and an earnest thought of doing some online shopping.

What you get is seven compositions of dark splendour wherein elements of Doom and Black Metal coexist to craft an elegantly depressing objet d’art. Frosty air pregnant with gloom and despair belches a bellyful of hybrid mid-1990s KATATONIA–ANATHEMA progeny out into hypnotic spheres of psychedelia. THE GREEN EVENING REQUIEM’s memento-philic bent for adorning their music with souvenirs from every territory they have ever trodden gives the band an idiosyncratic pleasure in exhibiting their early ULVER and DISSECTION repertoire in refashioned frames of sound akin to those of ARTEFACT—most evidently on “Affliction”. A shadowy BETHZAIDA cloak is cast upon some melodies to dress them in a misty aura of paganism giving the outward a more European trademark while keeping the interior intactly American in character.

To those who mourned MORGION halfway through this decade and who have missed their genius ever since, THE GREEN EVENING REQUIEM may offer some consolation due to a certain Americanness that marks the way both bands cross slow terrains or experimentally handle the cleanly-sung acoustic verses. Nevertheless, Madden’s voice does disrobe of its sombreness at times and meanders in shaky nakedness recalling Vincent Cavanagh’s voice of old. This very shakiness, however, is what brings the sound back down to earth: to where money speaks louder than the fancy words of praise. Thus, if you wish to lend your support to the Maddens and co while they are working on the follow up record, “Decomposer”, bear in mind that they need more than an emotive guestbook entry. Your credit card is there for a reason after all – use it.

(Online May 24, 2009)