Um comentário em “Rosk – Miasma (2017)

  1. Inevitably I come across with previously unknown bands that surprise me, this is something that happens frequently in view of my curiosity to meet bands of the most diverse sonorities and different countries and I believe it happens with many of those who have this habit. In one of these searches I came across the polish band Rosk, who came from the city of Warsaw and released his debut album Miasma in January. At first, the art of the album was the one that piqued my interest, bringing a desolate image in black and white that briefly reminded me of the cover of the film “The Turin Horse” by the Hungarian filmmaker Béla Tarr.

    From the unexpected encounter to immediate admiration after listening to the album for the first time, Rosk arrives to integrate the great scene of Polish heavy music and especially that of Post-Metal, which already has impressive bands like Moanaa, Blindead and Entropia. With this in mind, you can expect from Rosk a sound that refers to classics such as Isis, Cult of Luna and Rosetta, but I emphasize the initial importance of not wanting to frame Rosk’s sonority in a way restricted to the sonority of these bands, Go further and insert elements of genres such as Post-Black Metal, Post-Rock and even passages in a tribal and ritualistic approach.

    Miasma is composed of 4 excellent tracks and have compositions very well elaborated, marked by the slow form as they develop. Rosk tries to conduct his music without urgency, so that can situate the listener within the concept that the band has adopted to work his music. The opening track “In Nomine Pestis” introduces us to the tribal and ritualistic elements I mentioned earlier, progressing slowly and gradually introducing a number of new details. The blast point of the track reveals intense music, driven by a series of heavy riffs, striking bass lines and balanced drum performance. The harsh vocals fit well with the tone transmitted by the music.

    “Infected I” and “Infected II” are the next two tracks of the album, following the initial tone presented in “In Nomine Pestis”, in addition to the slow development that marks the whole work. Unlike the opening track, both give more space to the participation of the clean vocal and this is perhaps one of the facts that made these two tracks in particular gain prominence for me. Not only does it contain this clean approach to the vocals, but the way it contrasts with the harsh vocals in Rosk’s music, as well as creating an incredible harmony with the band’s instrumental in both soft moments and heavy passages. No matter how introspective Rosk’s music is and of course pass through a sense of anguish, it has an indescribable beauty that reveals itself in parts. The track that ends Miasma is “Beneath the Light”, has a duration that exceeds 20 minutes and allows the band to play even more extensively their mix of influences. “Beneath the Light” remains within the proposal of the album and has an approach that rescues more elements of the Post-Black Metal than the others. A colossal track to magnificently close a impeccable work.

    Miasma is a deep immersive album that works well the idea of ​​the contrasts existing in the instrumental. For those already habituated with this type of sonority the album will have a very natural unfolding, even for those who are not yet so familiar with the approach, perhaps need some more attentive auditions to properly assimilate the sonority. My favorite album of January and that will surely be in my top albums at the end of year.


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