Review: Ragana & Drowse ‘Ash Souvenir’
It might seem peculiar, but some of the times when encountering a new band, my initial attraction is almost entirely captivated by the album’s cover art, swiftly followed by its intriguing title. These aren’t just superficial details; rather, they serve as the profound initial glimpse into the band’s very essence, a visual and verbal declaration that immediately encapsulates their distinctive world.
They subtly hint at the sonic landscapes and lyrical narratives awaiting to be discovered, painting a vivid pre-listen portrait of their intended expression, their unique stylistic inclinations, and the underlying musical momentum they aim to project.
These two elements can instantly communicate the band’s ethos, their genre leanings, and the unique emotional current they intend to ride. The discovery of Ash Souvenir, the collaborative album from anti-racist, anti-fascist, and noise slowcore/doom metal duo Ragana (Mariaand Noel), and dark ambient experimenter Drowse (Kyle Bates), began with a captivating visual attraction that quickly deepened into an unexpectedly devastating sonic adventure.
Initially drawn by the sad beauty of its cover and title, my mind immediately evoked images of a volcanic eruption, leaving behind only desolation and fear, a fitting premonition for the profound depth I was about to encounter. This initial association, however, only hinted at the true weight of the album’s narrative, as the reality of its message soon became vividly clear once I started listening: Ash Souvenir is intrinsically linked to the 1980 volcanic eruption of Mount St. Helens, a potent symbol of devastation and unbearable pain.
The music itself proved to be a devastating soundscape, far beyond any expectation, accompanied by an unimaginably heartbreaking cry of pain that resonated with the raw, unyielding power of nature’s sorrow. The opening of In Eternal Woods Pts. 1-3 acted like a sudden ice bath, a shock that instantly arrested my attention. A wave of goosebumps cascaded down my arms as the slow, drawn-out notes pierced the silence. It was a moment of profound hesitation; should I continue deeper into this sonic landscape, or retreat to the familiar comfort of something less intense?
The music stimulates a unique blend of emotions, a heartbreaking fusion reminiscent of Godspeed You! Black Emperor’s expansive soundscapes and the raw, emotionally charged poetry of Ethel Cain. This unnerving combination stirred in me a captivating sense of unease, leaving me teetering on the edge of anticipation and trepidation, unsure of what lay ahead in the journey of this album. The initial calm, however, was deceiving. Before I could fully settle into the atmosphere, a sonic storm erupted, a maelstrom of sound that engulfed the senses. Even less than halfway through the thirteen-minute epic, the raw intensity became perceptible.
an immersive, psychological odyssey that leaves an indelible mark…
Then, Noel‘s voice emerged, a visceral scream echoing a traditional Latvian folk song. The words ‘Māte, mīļa māte. Ne tā (mana) mūža māte. Zemīt’ (mana) mūža māte. Glaba manu augumiņu’ (Mother, dear beloved. Not the mother of my life. Little Earth. Protect my little body) are a desperate plea for protection, adding another layer of profound sorrow. This haunting lament, intertwined with a thunderous and furious instrumental backdrop, sent shivers down my spine. A brief respite followed, a momentary return to a semblance of calm, like a fragile safe haven before the tempest renewed its fury. The song seemed designed to take you to the edge and back, knowing the emotional toll it was taking.
Barely recovered from the initial onslaught, I was immediately submerged in the gritty vocals of After Image. The cathartic sound seemed to address a deep-seated emotional turmoil, before we get the continuation of the journey laid out in the first track with In Eternal Woods Pt. 4. This raw emotionality was further amplified by the inclusion of a brief, peaceful organ reminiscent of a celestial church hymn. This moment of serenity, however fleeting, created a stark contrast to the surrounding darkness, highlighting the overarching themes of pain and fleeting solace found within the album.
Ash Souvenir, the title track, offered a deceptive caress after the turbulence. The melody was initially pleasant, almost lulling you into a sense of security, nearly obscuring the experiences from earlier tracks. But the lyrics quickly dispelled any notion of complete tranquillity. As the vocalist’s voice transitioned from a slow, sombre tone to a high-pitched, pained wail, the underlying despair resurfaced. The image of an ‘ash souvenir from Mount St. Helens,’ representing something both beautiful and destructive, captured the essence of the album’s thematic exploration of loss and memory.
The repeated verses, ‘There’s nothing left to lose,’ underscored the deep sense of resignation woven throughout the music. The slow, eerie atmosphere that permeated the song constantly threatened to unravel, mirroring the way nightmares can insidiously seep into everyday life. The experience highlights the album’s strength, conveying a sense of unease and foreboding that lingers long after the final notes fade. The beauty of the song highlights the deeper themes of the album, forcing a conversation with internal feelings of loss and regret.
Ash Souvenir, released via San Francisco, CA, notable avant-garde metal label The Flenser Agriculture, Chat Pile, Midwife) is an immersive, psychological odyssey that leaves an indelible mark, a haunting echo of beauty found amidst the wreckage of the soul. An album born out of bereavement and grief.
Label: The Flenser
Ragana: Facebook | Bandcamp | Spotify | Instagram
Drowse: Facebook | Bandcamp | Spotify | Instagram
Scribed by: Domenico ‘Mimmo’ Caccamo
