Here’s one of the big albums; at least one of my most anticipated. How can any music nerd resist a supergroup that makes as much sense as this one? Three realms of dark experimentation come together under the name of Sightless Pit with Lee Buford of The Body, Dylan Walker of Full of Hell, and my favorite artist from recently, Kristin Hayter of Lingua Ignota. For those who do not know I gave Lingua Ignota’s Caligula the spot for my second favorite album of 2019, but after even more listens I can say it only continued to grow on me. No other artist could be able to captivate such disturbing sceneries through expertly crafted darkwave and neoclassical arrangements. Full of Hell on the other hand are known for their noise infused powerviolence and grindcore thrash-fests, and The Body also experiments with noise but with doom metal, sludge metal, and a variety of other heavy genres. All three have worked in pairs before, but never as a whole unit to the best of my knowledge. So there was a peak in interest when I heard all three sounds would be coming together.

All three members are willing to experiment with their sounds further, and it shows on Grave of a Dog. There are still elements of each artist, and Sightless Pit does a fantastic job of combining them cohesively. Kristin Hayter brings her signature brittle waves of darkness and beautiful yet disturbing vocals like on “The Ocean of Mercy”. Lee Buford brings along his echoing percussion that has a pulsation to it that brings tracks to life like on “Immersion Dispersal”. Dylan Walker brought his keen ear for electronics and noise along with bone rattling screams in which he trades off with Hayter throughout the album. They all keep what they’re best at and throw it into this abstract, atmospheric sea of madness. Yet Sightless Pit still finds more ways to expand on their sound.

There are many elements of dark ambient in which these artists have explored before, but in minor dosages. Pianos are expertly placed into the production on a track like “Drunk on Marrow” where they add a low, brooding aesthetic with their ambience. “Miles of Chains” has these creepily layered low growls that warp and sputter into nothingness. We also get some more unconventional instrumental moments that add to the abstract and impressionistic style Sightless Pit aims for on Grave of a Dog. Take the uncanny bell flutters and brittle percussion that sounds like a chain dragging across the floor on “Whom The Devil Long Sought To Strangle”. Also that song has what I believe is a synth that inhales and exhales quietly before the explosion into pure cacophony at the end. “Love Is Dead, All Love Is Dead”, is ominous with its atmosphere and has quietly produced, high-pitched notes that bend and lose shape alongside melancholic pianos.

The ambient and atmospheric side of Grave of a Dog is great, but can feel like it’s meandering for a little too long. That’s fine because there are some really harsh, discordant, and startling tracks that juxtapose the sinisterly ambient sections spectacularly. Opening the album is the first single from Sightless Pit, “Kingscorpse”, that is chaotic in a controlled manner. The bassy percussion stabs through the mold as noise shrouds it. Dylan Walker has great growls as always paired aside Hayter’s extended notes that melt into a melancholic crooning all while the instrumentals continue to pummel the senses. “Immersion Dispersal” has a beat to it that feels almost like IDM with harsh noise and confused screams of different volumes trying to destroy the groove. Somehow it still ends up compelling as all hell. “Drunk on Marrow” is harrowing with its variety of growls, screams, and shrieks drenched with noisy static that is complemented by low piano notes that echo in the production and remind me a lot of the ones on Lingua Ignota’s “DO YOU DOUBT ME TRAITOR”.

Even going into Grave of a Dog with knowledge of Full of Hell, The Body, and Lingua Ignota’s music and styles, this is still perplexing as hell. Perplexing, yet incredibly compelling. I love hearing artists push their sound and that’s what they did here. Interest in experimentation isn’t the only element of quality Sightless Pit offered. They also captured a unique sense of darkness and sorrow that can only be conveyed through such excellent avant-garde arrangements and talented craftsmanship. I won’t say this is any of their best releases, but great nonetheless. And although these artists alone are seasoned in their craft, this is still a fresh supergroup that hasn’t quite yet had the chance to perfect their craft. This year is one of surprises, and I cannot wait to see what it and Sightless Pit have in store for the future.

Favorite Tracks: “Kingscorpse”; “Immersion Disposal”; “The Ocean of Mercy”; “Drunk On Marrow”; “Whom The Devil Long Sought To Strangle”

Rating: 8/10

Released: 02/21/2020

Label: Thrill Jockey

Genres: Experimental, Darkwave, Noise, Death Industrial, Dark Ambient, Avant-Garde Metal

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