A man of many talents whose primary export is lost in limbo
Patrick A. Hasson, a resident of the state of Maine in the US, is a busy man indeed. Between his label First Church of the Left-Hand Path and his black metal promotion blog "Attila the Hun" he finds time to dabble in a variety of genres, like the raw black metal incarnation Avulse, his funeralesque death-doom project Black Chalice, an ambient neo-folk enterprise called Field of Spears, and finally his atmospheric black metal solo project Auspicium.
For the World That Was and That Is to Come is the fourth full length album spawned by Hasson under the Auspicium moniker. Given the rapid succession of releases that flood from all the musician's projects it is perhaps not so surprising that the album isn't a masterpiece of modern metal. Though you could hardly expect a virtuosic symphony of interwoven passages and grand segments of incredible skill within the genre, For the World That Was is still a bit single-tracked. Though Hasson has committed several riffs that are half-decent on this album, his compositions never fully take off but instead lounge around in a bog of mixed signals.
Auspicium does not shy away from experimentation, an example of which could be the clean vocal segments in Judgement. Hasson vies for the listeners attention and does his best to keep things interesting, but in an atmosphere that could best be described as monotonous these odder elements instead stick out like a sore thumb.
For the World That Was and That Is to Come is the fourth full length album spawned by Hasson under the Auspicium moniker. Given the rapid succession of releases that flood from all the musician's projects it is perhaps not so surprising that the album isn't a masterpiece of modern metal. Though you could hardly expect a virtuosic symphony of interwoven passages and grand segments of incredible skill within the genre, For the World That Was is still a bit single-tracked. Though Hasson has committed several riffs that are half-decent on this album, his compositions never fully take off but instead lounge around in a bog of mixed signals.
Auspicium does not shy away from experimentation, an example of which could be the clean vocal segments in Judgement. Hasson vies for the listeners attention and does his best to keep things interesting, but in an atmosphere that could best be described as monotonous these odder elements instead stick out like a sore thumb.
"Hasson captures a cold yet organic atmosphere with his tenebrous vibes,"
In the end there are only few things to say about Auspicium's fourth album. It brings precious few things to the table but mixes what little it has together to form an album that perhaps doesn't outdo others within the genre, but is still moderately enjoyable. Hasson captures a cold yet organic atmosphere with his tenebrous vibes - something that is commendable - but doesn't seem ambitious enough to really do something special with his music in Auspicium. There is no doubt that the guitar is Hasson's best instrument as his abilities as a riffsmith aren't too shabby - only a bit underachieving.
7/10
Released in 2012 independently
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