Despair and towering angst but also moments that reach for transcendence pervade German band Crone‘s latest album Gotta Light? streaming at Bandcamp. There are actually no women in this band, a darkly tuneful project sprung from the ashes of long-running black metal band Secrets of the Moon. This is an apt soundtrack for a population staring down a cold winter of VAIDS deaths, electric grid blackouts and fascist plandemic restrictions orchestrated by World Economic Forum puppets. Who knows, maybe famine. If you think New York has it bad now, be grateful you’re not in Europe.
They open the album with No One Is Ever Alive, a brooding, swaying, vampy dirge, Frank Flight gone down the well into gothic Britfolk. Track two, Abyss Road is a lickety-split, stomping mashup of acidic late 90s Versus downstroke rock and New Model Army dystopic battle anthem. It’s the big hit.
Hope emerges in Gemini. with Christian Schmidt’s layers of brassy synths, swoosh and swirl, and frontman Phil “sG” Jonas’ impassioned vocals. “This world is burning slow…let’s play God,” he muses in This Is War, the band finally picking up with a stampede into inevitability. Can anybody say prophetic?
From there the band segue with a rumble into track five, They: three minutes in, lead guitarist Kevin Olasz finally get a chance to channel his inner David Gilmour with his aching flares over drummer Markus Renzenbrink’s precisely leadfooted stomp.
Towers Underground comes across as enigmatic late-period Psychedelic Furs with more explosive guitars. Then the group pick up the pace and return to ominous New Model Army territory in Quicksand, with a whipsaw bassline and a terse, High Romantic piano interlude.
Waiting For Ghosts is a rip of Pink Floyd’s Breathe with a little Bowie thrown in. Silent Song also has a hypnotic Floyd pulse, but with walls of guitars where Rick Wright’s keys would have provided the ambience: the icily strobing analog chorus-box guitar solo is a delicious touch. They segue into the closing instrumental, Kenosis, a theological term meaning to surrender to the divine. The rattling downtuned bass hints at the band’s heavier origins beneath an increasingly ominous web of spacerock riffage that decays like a dying star. Assuming there still is a working internet at the end of the year, you’ll see this on the best albums of 2022 page here.