I tend to pick random stuff whenever I see French titles (especially when they grammatically make sense and have an unusual touch). Was delighted to find out this is a solo project of a guy that made artworks for Blut aus Nord. You can definitely sense why these guys get along so well, but Throane still has his own musical identity. Emotionally intense. Perfect to write stories.
Throane's second outing doesn't contain one style in particular. Dehn remains wholly unique in amalgamating a lot of different elements together. Another grim trip, yet there's a soul in the machine.
Favorite track: Plus Une Main À Mordre.
Stephen M Bennett
like the first album,one man responsible for the sounds apart from the drums which are real on this album,as with the first album,it's heavy,quite slow,very cold,sounds like nothing I've heard before,very original,black metal is at it's core but it's got so much more going on,sometimes it's hard to think one person can do all this,just stand back in awe.
The second full length from Throane is the most fully realised vision of enigmatic photographer/illustrator/designer Dehn Sora (BLUT AUS NORD, ULVER, DEATHSPELL OMEGA).
One of the most stunning trips of the year, Plus une Main à Mordre (“No Hand Left to Bite”) seeks balance between the struggle and the letting go, passing from chaos to quiet in revelatory circular motions.
Like Sora’s visual art, his music possesses a hypnotic, almost hyperreal singularity: ultra-modern meditations crisply rendering the esoteric as familiar and the everyday as phantasmagoria. This is a record of cities as tombs, of failing industry, corroding capitalism, fractured lives, divided peoples, isolationism and lack.
The album is marked by greater confidence in its ferocity and frightening clarity of purpose in its harrowed ambience; finding kinship with greats such as SWANS, BLUT AUS NORD, BREACH and GODFLESH in hues of grey Doom, Post-Black Metal, Post-Hardcore and darkest Industrial.
Produced - as 2016’s lauded debut Derrière-Nous, La Lumière - by Samuel Vaney (CORTEZ, MUHD), the mix is haunted by primal screams, submerged intimations of speech and disembodied voices lost in a magma of filth, effluvia and strange beauty. Drums are performed with brutalist precision by Gregoire Quartier (CORTEZ).
The concluding title track opens up to feature guest vocals from Sora’s close friend Colin Van Eeckhout (AMENRA), Sylvain (INCIVIL TRAGEDIA) and fellow graphic designer Valnoir who join in unison as if a sect, hidden in graffiti tunnels communing misremembered echoes of love, looking beyond the human for commonality as towers erupt in conflagrations of psychic disillusion.
released October 20, 2017
Written, performed, recorded by Dehn Sora. 2016/2017
Produced by Samuel Vaney. Drums by Gregoire Quartier.
Mixed and mastered by Samuel Vaney at Lead&Sulfur Studio, Switzerland.
Percussions recorded by Franck Neuman.
Vocals on Plus une Main à Mordre :
CHVE Recorded by Tim de Gieter, MuchLuv Studio, Brakel, Belgium.
Valnoir, Incivil Tragedia Recorded by Dehn Sora, Barrelsement, France.
On their gut-wrenching debut album "Let Pain Be Your Guide," screamo revivalists Portrayal of Guilt demonstrate their transcendent potential, beyond a shadow of a doubt, in a blinding flash. Bandcamp Album of the Day Nov 30, 2018