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FUNERAL MOTH - Transience / VINYL LP (Black vinyl Edition)

13.00

BLACK VINYL EDITION
No limit of copies per customer. Includes download code.

• Limited to 200 copies worldwide
• 140gr. vinyl
• 350gr. sleeve printed inside-out
• 250gr. art paper insert
• Polylined paper bags
• Outer plastic sleeve

BAND FUNERAL MOTH (Japan)
TITLE Transience
CAT. # TR63
RELEASE DATE July 2016
FORMAT VINYL LP
RUNNING TIME 40 minutes
FILE UNDER Post-Doom, Post-Sludge, Dark Ambient, Ritual, Funeral Doom

— DECIBEL MAGAZINE | dB rating: 9/10 | Quiet bloom of the soul —
"If you are fortunate enough to be yet vulnerable to extreme metal’s effects, e.g. if minor chords played slowly leave you crestfallen, if soaring solos lift your spirits, if blast beats make your eye twitch with rising ire, then approach Funeral Moth’s sophomore album, Transience, with caution. For not only have these Japanese doom weavers completely revolutionized their sound, and quite possibly the whole of funeral doom along with it, they have also crafted the most crushing, yet most introspective, sublime and heartfelt record I’ve heard since Thergothon’s Fhtagn nagh Yog-Sothoth. Seriously. I was cleaning my apartment when I first jammed Transience, and not a minute in I had to lie on the floor and just close my eyes. It was like yoga for my metal sensibilities.

Like Hex-era Earth enlisted Niko Skorpio to help them score some lost Kurosawa masterpiece, the riffs—what else to call them?—seem paced by some lunar pull. The vocals are sparse, but always outstanding. Growls croaked by some monster with two heads of varying size and vocal timbres segue into dirge-throated oms then into whispers like dying oaths from a self-disemboweled samurai. All while the sundry instrumentation wraps around you like a cocoon, as if Funeral Moth were in the room with you, ghosts, but unquestionably present. And although there will be a particular feeling Transience gives you, every time you hear this record it will sound somehow different. Certain refrains you’ll remember, but nuances will shift. Such is the parallax of an artistic monument."

— ECHOES & DUST —
"This stunning new album from Funeral Moth opens up vast, desolate, mournful panoramas of doom. Over the course of just two tracks (the first just over, the second just under 20 minutes) and a restrained palette of hanging-in-the-air tones matched with a powerful gruff roar, the record has the listener travelling over unforgiving expanses of grey wasteland.

The title track on the first side heads off with a crystal, ringing clear sound, with the slightly jarring notes allowed to soak into the surrounding air. Before long, of course, there is a burst of low, low growling distortion, which supplements and carries rather than obliterates the delicate guitar line. Then another sawing tone skewers and strings out the haunting melody, over measured punches of reverberating bass and crash cymbal. It’s a great intro, powerful but controlled, well-thought-out sounds arranged for maximum effect. In its reserved, quiet waiting for devastating, crushing doom impacts it’s reminiscent of Corrupted’s Mundo Frio. It’s not quite as extreme as that record (which features perhaps the heaviest drop ever, after ten full minutes of harp twinkling), but it’s high praise indeed that Funeral Moth seem comfortable in that company. Later in the track there’s a great slow, repeated rising twin guitar line, which then drifts into more expressive territory at a completely confident, unhurried pace of detached exploration. Even the demon vocals tread a path between contemplation and shrieking horror- in everything about this record there’s a perfect balance between the quiet passages in which you can feel the oceanic power being held back, and the loud raging bits which still keep that sombre, reflective atmosphere.

The other track, ‘Lost’, is similarly epic and uses a closely-related set of sounds and moves. The phrasing in the early parts of the track is great, with the emphasis half stepping off some chords before the next smashing impact, creating an engagingly intricate sense to the creaking and thudding. The structure is similar to the previous track in parts, such as where the guitars start to rise again together, followed by a doubled whisper in the vocals. And in fact, it’s not dissimilar to their previous full-length Dense Fog. But the particular developments of the tracks here are second to the world they create, an monochrome but beautifully textured evocation of the slow exhaling of a post-human world. Transience and loss, certainly, but heard from somewhere far beyond their effects."

— THE SOMBER LANE —
"Never heard of Funeral Moth before, and the label “Doom metal” never gets me excited. But this time around the genre-label suddenly changed into “Funeral Doom Metal”…which was so irresistible to me!
But I would have never thought I was going to discover the best album of 2016, and also probably amongst my all-time favorite records of this crushing sub-genre.
But hell! My expectations have been wrecked by Transience.
It’s unique in the funeral doom circle. It’d be perfect as ambient record, if it wasn’t for the disturbing vocals. It may be post-rock if it was faster. But sure thing, it is stunning.
It’s divided in two tracks. The first one we encounter is also the title-track, let’s call it the odd one. A dense knot of weaves of both distorted and clean guitars lays the background for this 22-minute epic to grown and live. Transience is calm and peaceful in a huge disturbing way. Almost creepy. As a slow march towards a closure still unknown.
Personally it makes me feel like I’m floating into nothingness, lost and forlorn. In a void sea where there isn’t any sound, any noise or any other life form. Fear and happiness don’t exist in here, as well as life and death don’t belong. Just an infinite horizon of emptiness where you can linger for the eternity of time.
Lost instead returns to Earth, maybe. It’s more canonical, no doubt. But that aura of sublime alienation remains with this second yet last track. But Funeral Moth dropped the ace here, with a behemoth tune that brings Funeral Doom metal to a new level.
Vocals become more aggressive, raw and miserable. Guitars, bass and drums start to hit harder drawing few divine moments. We can’t count many riffs here, but the few present are just remarkable. The closing one, for example, it’s fu**ing easy, but yet so effective and profound. Terrific!
This song is also embellished by gentle blows of drums, and the bass guitar that still works on the deep specter to bear the whole imagery of deprivation.
And yet after 39 turns of the clock I arrived at the end. It seems like I lived in another dimension all along during the time the album was spinning. But the return to reality is sick, and made me realize how pitiful and worthless our human condition is.
Still at the very end of this sorrowful journey, I just have to clap my hands to this perfect album."

— THE KILLCHAIN —
"Japanese doom lords Funeral Moth are unleashing their latest masterpiece ‘Transience’ upon us, and what a glorious two tracks of crushing misery and melancholy it seems to be. Dark introspection hides within these spacious and minimalist riffs.
First track ‘Transience’ moves at a funereal pace, with echoes of latter period Earth in amongst the rumbling growls. Mournful riffing does appear in patches, but it is mainly clean guitar with glacial melodies and an overreaching sense of sadness and despair. There’s a kinship between this record and the ‘The Bees Made Honey in the Lion’s Skull’, but Funeral Moth is a little faster, and their vocals are definitely more brutal. ‘Lost’ is more guttural, more raw, more intense in its delivery. It has some of the more insistent moments, and more of the riffing, but the glacial, almost post metal parts are swelling and uplifting in a way that helps raise you from the miasmic gloom.
An almost meditational album, where the doom comes from the inward seeking viewpoint, the search for inner peace amongst the turmoil of modern life. ‘Transience’ is the most peaceful doom record you’ll hear this year, and yet still one of the most crushing.
‘Transience’ is an album that offers little in the way of riffs, yet a huge amount in the way of atmosphere, with a haunting minimalist approach that leaves you with open spaces to pour your own interpretations. Proof that music doesn’t need to be laden with riffs to be soul destroying poignant and heavy."

— WONDERBOX METAL —
"This is the second album from Japanese Funeral Doom band Funeral Moth.
Funeral Moth’s music is comprised of sparse, slow riffs that create atmosphere through space and elongated emotion rather than outright heaviness or pure distortion. It’s a slightly different approach than most artists of this ilk adopt, but one that sees the two long tracks on Transience work a, (miserable), treat.
The band this reminds me of most is Earth, if Earth played Funeral Doom and had growled vocals.
The music is introspective and gloriously woeful. It tempts you to lie back and trance out, while the sombre, mournful melodies carry your consciousness off and your body slowly settles into its place in the cold, wet, uncaring soil…
Throughout this slow decline of sentience we get the aforementioned deep growls churning in line with the music. These are both quite traditional in delivery and also subtly different, having a roughness to them that seems sparse and minimalistic, also in line with the music.
A dreamy, seductively calming way to spend 40 minutes. Enjoy."

— MINDFUL OF METAL —
"Funeral doom of the impossibly slow persuasion. Presented as two elephantine minor key mantras, crystal clear in delivery, crushing in poignancy. Although minimalistic and direct, the compositions ooze downcast mastery. Scathing vocals slice through the leaden march with pleasing ease, further emphasizing the power of these deliberate, measured movements. Perhaps only for the funeral doom devotee. Perhaps a pinnacle of this ponderous art."