Reviews of Earth Shall Not Cover Their Blood


I much enjoyed Phragments previous outing 'The Burning World' and the more recent split release with March of Heroes and Across the Rubicon was quite impressive too. Matej's latest full length on Malignant Records adds another great title to this talented Slovakian artists catalog, although its a bit different from anything else he's done.
'Earth Shall Not Cover Their Blood' is an interesting release since it generally eschews the bombastic symphonic and martial qualities found on the bands other releases in favor of a calmer ambient soundscape approach. The music generally carries a very strong dark tone to it and in a way it could very well remind someone of a post apocalyptic event playing out. Of course some industrial characteristics can still be found within these songs, though the martial percussion is sparsely used and not nearly as powerful sounding as before. On the synth side of things they don't really have that nearly authentic orchestral sound that drew comparisons to In Slaughter Natives or Karjalan Sissit, but rather they simply move in a slow dark ominous direction. Interestingly enough both a violin and cello are used on this record, though it seems very likely that they will be mistaken as being synthesized.
Obviously Phragments has under gone some changes within their craft, though I surely wont complain even one bit since Matej has created something truly dark, sinister, and otherworldly on this new full length. It should be interesting to see where he goes from here; I know I'll be listening.
[JJM, Lunar Hypnosis Webzine, 8/10]


The previous album of this Slovakian dark ambient duo consisting of Matej and Sonic(k) was already quite nice. The new album shows that again considerable progression has been made by Phragments since their third album Earth Shall Not Cover Their Blood is an album that is again much better. It offers more depth in sound and more variation within the dark ambient theme compared to the previous work The Burning World, which still leaned too much one one dimensional martial industrial although the ingredients and the potential of this new album in its core were already present in the music of Phragments. Thematically the new Phragments album is again a dark affair. Like the title suggests this new album is dedicated to all victims of genocide in the course of history. A very dark orchestral sound, industrial noises and tribal percussion are used to reflect apocalyptic atmospheres. In 'Over Deadlands', 'As Hope Turns to Ashes' and 'The Kin of Cain' a forceful reciting voice is added which according to myself could have been left out, since it doesn't really add to the power of the music itself. Earth Shall Not Cover Their Blood is a very accomplished dark ambient album with a strong ritual and tribal influence as well as cinematographic qualities. Very much enjoyable by fans of a.o. tribal dark ambient such as Tzol'kin, This Morn Omina but also by cinematographic dark ambient such as Atrium Carceri, The Protagonist or In Slaughter Natives.

[TekNoir, Gothronic, 8]


Mit der finster-prophetisch betitelten CD "Earth Shall Not Cover Their Blood" liegt nun bereits das dritte lange Album der Duos Phragments aus Bratislava vor. Musikalisch hat man sich auf bombastisch-düstere Ambientmusik mit orchestralen und noisigen Akzenten konzentriert. Das vorliegende Konzeptalbum ist den Opfer von Völkermorden gewidmet und spricht sich auf mehreren Ebenen radikal gegen totalitäre und extremistische Ideologien aus. Die Apokalyptik, die sich hier entfaltet fußt also in der historisch-poltischen Realität und formuliert mit allen verfügbaren Mitteln eine Anklage gegen fatale Intoleranz.
Erinnerten die vorangehenden Alben noch deutlich an einschlägige Vorbilder aus dem Umfeld der Cold Meat- und Loki-Labels, bemüht man sich hier deutlich um eine eigene Handschrift. Die ist noch immer von einem Minimalismus geprägt, der dem Klangbild jedoch entgegenkommt: Meist entwickeln sich die langen Stücke aus ruhigen Intro zu rhythmisch hämmernden Songs. Mit leichtem Verzerrer auf der Stimme proklamiert man die Anklage auch in deutlichen Texten, die zudem im Digipak dokumentiert werden. Dabei wird die martialische Stimmung immer wieder von depressivem Ambiente gebrochen.
"Earth Shall Not Cover Their Blood" ist ein spannendes, mitreißendes und mit mehrmaligem Hören durchaus ergiebiges Album, das zweifellos zu den späten Höhepunkten dieses Jahres im Ambient/Post-Industrial-genre gehört.
[Ikonen Magazine]



Phragments sono un particolare duo di Bratislava: Matej si occupa della musica, mentre Sonic(k) cura la parte visiva. Affermano di suonare "orchestral industrial", definizione che si rivela piuttosto calzante quando durante l'ascolto emergono similitudini con progetti Cold Meat Industry quali The Protagonist e In Slaughter Natives, più un affinità ritmica con Sephiroth, anche se Phragments in realtà non è mai "tribale". Le atmosfere sono cupe, l'utilizzo degli archi sobrio e severo, le percussioni inesorabili: il tutto evoca immagini di eserciti in marcia sulle rovine della civiltà, ma non siamo di fronte all'ennesimo post-adolescente affascinato dalla guerra, piuttosto abbiamo a che fare con qualcuno che dipinge paesaggi tragicamente desolati a rappresentare la mancanza di senso del conflitto e della violenza, elementi magari considerati in modo pessimista come inevitabili e connaturati all'umanità, ma non per questo in qualche maniera più o meno vaga approvati o accettati. Non a caso, il disco è dedicato a tutte le vittime di genocidio nella storia. Non è originalità il primo termine a venire in mente mentre il cd gira nel lettore, ma Phragments si distingue dalla massa per la capacità di non cadere mai in una grandeur involontariamente auto-parodica e per il saper evitare i cliché più abusati, tenendosi lontano da marcette, inni, vinili gracchianti con voci dei dittatori di turno, esplosioni e altri trucchi del mestiere. Earth Shall Not Cover Their Blood, infatti, si trova più dalle parti di un disco come Songs Of Experience di The Protagonist, di cui potrebbe essere una versione spogliata dalle parti più decadenti e letterarie per lasciare spazio a quelle più crude e drammatiche.
Aggiungere mezzo punto alla valutazione finale.
[Fabrizio Garau, Audiodrome.it]

The cheers and praise to war are relevant only from people actually aware of the experience and fact from it. All other people are just ridiculous clowns: Theoretical, dreamers, passionate rhetoric's, fanatics and sociopaths, these are the kind of people who usually supports these bloody experiments and hysterically ask for more, nevertheless, they keep their asses well covered in their comfy bourgeois lifestyle, restraining theirselves from going into the battleground or sending their own offspring to it, moaning for tax decreases each time they see the war tax inclusion in their receipts. Never satisfied and every time more obedient to the status quo, they are ready to ask for more whenever they are commanded to do so in fear of losing the comfort they worship or just following the empty state promise of gaining a little more. Ernst Jünger claimed that no one sane could love war after experiencing it, war constitute an enduring experience but it's only reserved for a handful strong spirits. There is no place for ideologies, idealisms or romantic plots about war when you're face to face with it. War above all is murder and destruction, survival and endurance through pain. And we have to be very clear about the fact that modern man is not a stoic, but rather a quibbler and a pragmatic calculator. Modern culture is a coward. After the emancipated war hymns and snare drums, only the verge of death and decay awaits for the soldier, and even a greater, more devastating death awaits the normal citizen that gets caught in the battleground.
More often we are prone to connote the efficacy from our heroes, our fights and victories, the result of our conquests, but we never objectively consider the cost of our glory or the pedestal that supports the feet from our heroes. To consider these facts would just simply supply an infinite perspective of atrocities and genocide, mass destruction and pillage. Nothing more. We value the result, but we often forget the cost, we retract ourselves from looking at the big void that lies just behind historical glory just because this vision is intolerable, the stench of putrefaction and the vision of decay will engulf the bravest soul. How many men made "Great" to Alexander?, How many murdered, raped and destroyed souls gave Constantine or Napoleon his fame? No one remembers them, no one cares, they are nobody, yet, they are the fuel that fills the glory that made these remarkable people transcending history.
The third full length album from the Slovakian phragments: "Earth shall not cover their blood", it's a script about war consequences, an album to make the listener experiencing pain and desolation more than to conceal his delirium of grandeur behind a wall of bombastic clangs, snares and military march hallucinations. The album purposely dedicated to "All the victims of genocide through the history of mankind" it's an exposition in the reign of the disidealization and most tangible side effect from this recurrent episode in human history.
Using heavy orchestral backgrounds and ultra thick dark atmospheres the work balances its way between the martial tone with an accented paintbrush of dark tribal ambient where the voice occasionally takes a very strong predominance. This part takes special relevance as includes an ungodly voice that recites a menacing omen on three songs, well written poetic clamours that sends chills to the spine. phragments retakes their traditional orchestral stance that has made them famous in a genre that too often has become clichéd in their assertions and more than often absurd in their applications. Where resides the difference with phragments? Basically it lies in the lack of grandiloquence and pomposity, the exploration of sorrow and grief instead of glory or supremacy, the tribal reminiscences included that takes the work out of the martial context and puts it in some middle hybrid middle ground that other bands have not explored that deeply, the subtle melancholic eastern touches here and there (as for example the main theme "Earth shall not cover their blood" with the beautiful Easternized Cello accompaniment and the voice cadence that reminds of a muezzin in "Over Deadlands", serious political connotations there by the way) the powerful drumming used along with the brass encompasses the decadent panorama like heavy drops of steel falling in vast desolated battleground camp full of wasted bodies, mass pyres and pillaged cities, devastation at hand, the music and the lyrics never redirects the listener to other conformations.
Concerning the lyrical content we must say that although is very spared through the work (Voice only appears in three songs: "Over Deadlands", "As hope turns to ashes" and "The kin of Cain" ) dedication and elaboration is appreciated, strong poetry that is not there to serve as a pillar for the music but rather as the centre where the music is constructed. Violin, Cello and male/female chorus lines along with oppressive drones that increase the dramatics and the disgraceful tone of the work marks the semantics, momentum clangour and paced harmonics gives this distinguishable industrial flavour to the work also. At the middle of the work the pieces focuses more on the dark ambient aspect : "As hope turns to ashes" and "The fogs have risen" where medullar sadness and desperation takes prominence and leaves no trace of hope for the listener. Heavy use of dark atmospheres and dense ominous drones with the inclusion of melancholic violin and cello excerpts, takes the breath away and pushes further the auralist in mayhem of terror, decadence and infinite shame. "Chant of the forsaken" follows the pattern but slowly includes more brass and drums. The timbals and metal clangs slowly comes in a fabric of tribal intersection that resembles a march ascending through the mysterious eastern flavoured drone that serves as background and leaves the listener ready for the epilogue. Penultimate song "The kin of Cain" is the most powerful song from the work and perhaps the more martial too, a death march is presented while the virulent and ungodly voice recites it's final anathema, we are all doomed, there is no future for mankind other than it's own destruction as the voice clearly puts it: "This kin of Cain has crossed the line, madness as god, god as madness, this is the kin of Cain, the beginning of the end". An infernal orchestral tone takes in full here, accompanied by brutal and merciless clangour and exploding all along with the voice in its doom induced manifesto. The finale, adhered to this song "The return", constitutes the final triumph of death, heavy brass accented, continuing with the last vigour from the previous march, more relentless and paced, this song gives the sensation of a pyrrhic victory, at least the beast is at peace, the final glory is that of which he has been so proud to create and to hide at the same time. Death is the victory!
Without a doubt one of the albums of the year! Revolutionizing a genre that is considered dead practically. Their songs are progressive, giving the listener a sensation of movement and direction through the mayhem they are conducting him through, adding melody and poetry, transcendence and originality in form and content, rescuing tribal sound and pouring it smartly and unerringly. phragments clearly shows its development and compromise with their theme and the elaboration of the musical form they have created. Tragic and pessimistic, obscure and terrifying the music follows the tradition from dark ambient mastership the Malignant Records label has become famous for. phragments is at home, and Malignant got a great child with these awesome neoclassical heavy orchestral seers of doom. A must!

[Jack The Ripper, Heathen Harvest]

Ein Statement gegen die Völkermorde auf dieser Erde!
Nach den hervorragenden Publikationen "Homo Homini Lupus" (2006, Construct.Destroy.Collective) & "The Burning World" (2007, The Eastern Front), die meiner Person zum Hören bzw. Genuss vorgelegt wurden, veröffentlichen Phragments aus der Slowakei über Malignant Records ihren neuen Langspieler "Earth Shall Not Cover Their Blood", der für weiteres Aufsehen innerhalb der Szene sorgen dürfte bzw. könnte.
Das kreative Duo hinter Phragments Matej & Sonic(k) offeriert auf "Earth Shall Not Cover Their Blood" eine konsequente Weiterentwicklung seiner vorherigen Leistungen, für welche sie innerhalb der versammelten Fachpresse viel Lob einfuhren. Ohne Frage, im Sektor Dark Ambient noch große innovative Akzente zu setzen, scheitert an der Tatsache, dass andere Protagonisten dies vor ihnen ausführlich taten. Die slowakischen Soundtüftler arbeiteten somit bewusst an ihren Stärken, die im Konzipieren von tief atmosphärischen (meist leicht rituell angehaucht) Soundcapes und im Einflechten von ergreifenden Sprechgesangslinien liegen, welche gemeinsam das Projekt Phragments auszeichnen.
Inhaltlich widmen die Slowaken dieses Oeuvre "Earth Shall Not Cover Their Blood" allen Opfern, die bei Völkermorden seit der Geschichtsschreibung umkamen! Eine bedrückende aber zugleich sehr ausgefallene Thematik die die Herren für diesen Tonträger wählten, welche bisher noch nicht so oft in der Musik Verwendung fand. Den Songtext zu 'As Hope Turns to Ashes' möchte Euch meine Wenigkeit in diesem Zusammenhang nicht vorenthalten, weil er uns die Realität deutlich vor Augen führt:

All of them
each one alone
trembling
chanting for hope.

Living deaf and blind
as they are bound.
Set upon the golden sun
Which will never rise.

All of them
each one alone
Out of nothingness
into nothing.
There will be no morning.

As hope turns to ashes,
there is no tomorrow.

Wir, die Menschen auf diesem Planeten, lernen leider nicht aus unseren Fehlern, weshalb sich immer wieder scheußliche Ereignisse wie Völkermorde ereignen und sich unsere Zukunft weiterhin blutrot färbt! Eine düstere Aussicht, aber die Wahrheit, solange wir uns alle nicht des Verstands bedienen – Faktum!
Musikalisch zelebrieren Phragments aus Bratislava eine Melange aus Dark Ambient, Drone und Martial Industrial, die zwischen Dunkelheit bzw. Zerstörung & Himmlischkeit schwingt. Alle Tondokumente passen von ihren Strukturen her phänomenal zum Kontext und transportieren pure Bedrohlichkeit, die sich schnell in den Gehörgängen festsetzt & zu wüstem Kopfkino einlädt. Im Besonderen der Einsatz eindringlicher Stimmbandarbeit (männlich) steigert die Intensität einzelner Passagen bzw. Tracks und zieht die ungeteilte Aufmerksamkeit der interessierten Hörerkreise auf sich. Wer unter Angstzuständen leidet, sollte von "Earth Shall Not Cover Their Blood" die Finger lassen, zu erschütternd bahnen sich die Lieder ihren Weg und ziehen die Stimmung in die Tiefe! Wo einige Opera aus dieser Stilrichtung durch Monotonie glänzen, offerieren Phragments Abwechslung von der ersten bis zur letzten Sekunde, weshalb beim Konsum keine Langeweile aufkommt.
Diejenigen, die sich mehrheitlich für Veröffentlichungen aus dem Hause Cold Meat Industry erwärmen können, sollten dem Release "Earth Shall Not Cover Their Blood" von Phragments, welches auf Malignant Records das Licht der Welt erblickte, eine Chance geben bzw. unbedingt antesten.
Fazit: Phragments überzeugen mit "Earth Shall Not Cover Their Blood" auf ganzer Linie und steigern ihre Klasse, die sie auf vorangegangenen Publikationen schon zeigten. Individuen, die sich für hochwertigen Dark Ambient interessieren (und sich zum Kreis der Experten in diesem Genre zählen), müssen dieses Highlight "Earth Shall Not Cover Their Blood" von Phragments in ihrer heimischen Sammlung vorweisen können – Pflichtkauf!

[Raphael / Kulturterrorismus.de]

The 3rd full length of this Slovakian duo is a pure chef d'oeuvre in the dark ambient style! That's the only correct conclusion after having listened to this new album. A dark and extremely tormenting mood hangs over this record and that's definitely the basis of any good ambient release. Phragments starts with the title song, which is pure, dark sensation. Extremely dark atmospheres are coming down on you like a spider spinning its web. You can feel the danger, but you can't see it! It's a kind of invisible strength that just takes you into its grip. At this imaginary moment emerge some heavier drums, which are like accentuating the intensity of the play. Phragments go on this phantom-like mood with the upcoming "Over Deadlands"-cut. This is another impressive piece of dark sonic intensity where some growling, zombie-like male vocals are like emerging from the depths of the earth. It all deals about a kind of nihilistic universe and the music perfectly fits to this theme of the 'deadlands'. Phragments who dedicated this record to all victims of genocide through the history of mankind seem like recreating a kind of imaginary vision of horror by the simple strength of their compositions. The next few tracks are evoking to me some early Lustmord influences and that's definitely a real reference for an ambient project. "As Hope Turns To Ashes" and "Chant Of The Forsaken" are both new jewels emerging from the haunted corridors extract from the creativity of Phragments. The 3 cuts with vocals are reinforcing the spooky character of the composition while some orchestral arrangements are now and then reminding me of pure soundtrack music. Phragments have all a good ambient project can dream from! This album is definitely a masterpiece and one of the best albums released on Malignant Records!
[DP, Side-Line, 8/9]

Earth Shall Not Cover Their Blood" ist die neue CD von Phragments. Phragments - das ist Dark Ambient der düsteren Art - die vornehmlich instrumentellen Songs sind durchsetzt von Klängen voller dunkler Atmosphäre - die perfekte Musik für den Weltuntergang so scheint es! Phragments erschaffen in ihren Songs einen Soundteppich, der sich langsam aufbaut und immer weiter und weiter steigert. Lieder wie "The Fogs Have Risen" oder "Chants Of The Forsaken" klingen geheimnisvoll und mystisch zugleich und versetzen den Hörer in eine ganz besondere Stimmung. Auf dem Album finden sich sieben Songs, wobei nur bei 3 Liedern auch verzerrter Sprechgesang zu hören ist. Alles in allem ein düsteres Werk, mit dem Phragments erneut zeigen, wie tief und bedrückend Musik wirken kann. Anspieltips: Over Deadlands, The Fogs Have Risen. Fazit: Für Kenner!

[Darkheartmagazine.de, 5/7]

Но вот, Phragments дорос до "респектабельного" Malignant Records. Пятый полноформатник Матея (Matej) "Earth Shall Not Cover Their Blood" демонстрирует, что словак весьма поднаторел в делах амбиентно-индустриальных, и теперь смело может стращать публику своими погребальными зарисовками на всякие околоапокалиптические темы.

Альбом получился действительно крайне мрачным: тягучим и вязким, как гудрон, холодным, как надгробный мрамор и скорбным, как ангелический лик. Колумбарий всяческих надежд, стремлений и желаний. Челюсти Небытия, под тревожный и торжественный грохот ритуальных барабанов, перемалывают в пыль бренную человеческую породу, дабы засыпать прахом сим все следы его пребывания ее Земле. Взвизгивают в ужасе скрипки, мычат в невыносимой тоске виолончели, инфернальный вокал возникает отвратительной коростой на пепельных ландшафтах, клубящихся волглым, мертвенно-бледным туманом. Разрушение, тлен и забвение. Пресловутых потомков Каина разве может ожидать иная участь? И, понятное дело, напрасно вопиет Иов: "Земля! не закрой моей крови, и да не будет места воплю моему": небесный кенотаф над его головой годен разве только для создание эффекта реверберации.

Достаточно лаконичный, но до крайности внятный альбом, в кототором нет ни малейших излишеств, длиннот и необязательных частей. Украсим червленый борт катафалка под названием Phragments еще одним заслуженным крестом.

[Radiodrone.ru]

Lets take space to the extreme. Slovakia’s Phragments have a very distant approach to music at the start, Everything sounds so far away, like a far away battle you're not involved in. It is a strange way of going about your work, but the distance makes sense as this slowly builds and gradually lets its troops get a stronghold of your surroundings before any imminent assault.
The initial moaning vocals really didn’t do anything for me at all, but when the harsh brutality kicks in it stirs things up again and is a welcome element to some rather well placed programming of analogue sounds and ambience.
Ominous and brooding are the best two words to describe the third album by this lot, not too out of place akin to many of the best from that you would hear from the Cold Meat stable, which is good considering most of their latest releases have been somewhat below par.
There is a deep sense of the arcane when listening to Phragments, not so much as a lot of artists out there, but medieval enough to get a feel for a definite time frame languishing in the past.
All in all this isn’t the best Martial ambient album out there, but there is a deep sense of that they know what they are trying to achieve and this self belief is something that evidently comes across in what they are trying to portray. Interesting and involving enough without delving too much into pretentiousness this is a wholesome stable release.
[Tony Young, Theyfell.org]

At all times in history, and with no signs of ending in the foreseeable future, acts of genocide have been committed on varying scales by different ethnic groups in some sort of power upon those with less. As one of the greatest of the many tragedies which may befall humanity this is certainly a rich mine of artistic inspiration, and so it is this subject on which the Slovakian duo Phragments have chosen to base their third album. As a well-refined performance of Phragments' trademark musical styles, based for the most part in sombre dark ambient building to more bombastic martial classical passages with forceful industrial touches, "Earth Shall Not Cover Their Blood" is arguably one of the best ways to capture an effective sense of the immense tragedy that is genocide.
The title track sets the scene perfectly with a deep minimal synth line overlaid with a mournful cello and slow, crashing percussion, finally erupting into an aggressive tribal drumming workout. "Over Deadlands" then provides the equivalent of a hit single, with thoughtful lyrics delivered in a powerful manner by both Matej and Sonic(k), over more infectious percussion, together with a sinister violin refrain adding some sense of madness. The following piece, "As Hope Turns To Ashes", certainly gives the feeling of hopelessness, with another well placed cello lead over a sparse backing, although the words provided in the CD inlay seem to be absent.
"The Fogs Have Risen" sounds like some kind of impending doom, the forces of terror gathering their troops, ready to commence some genocidal attack on helpless victims, then "Chant Of The Forsaken" evokes the aftermath, perhaps the desolation of a ruined village where survivors weep for lost loved ones. The Middle Eastern feeling as the rhythmic section gets moving towards the end seems especially appropriate given recent events. The hardest track on the album, "The Kin Of Cain", then comes pounding forth, with Matej's deepest vocals pouring scorn on those killing for their god, "spilling blood for the thousandth time". "The Return" seems to be a curious title for a closing track, but perhaps alludes to the sad fact that as one genocide ends so it is never very long before another commences elsewhere, and an uneasy sense of anticipation seems to permeate this tune. Or rather, this may suggest the return of the prolific duo, and that we may not have to wait very long until another fine album comes our way.

[Nathan Clemence, Connexion Bizarre, 7.5/10]

The sorrow felt in Phragments is those of legends. There is a Tribal Eastern Industrial sound to this all its own mixed with heavy neo classic arrangments with horns, strings and woodwinds playing the orchestral lead. To this review " Earth shall not cover there blood" is the continuation of Sanctum's Lupus in Fabula release esp the way the string, horn, drums and drones all work into a blitz of passionate sounds and artwork. I want an army of Dancers, Acrobats, Jugglers, Jesters entertaining the Emperor and his court. I swear if there is even a part of you that is still human in these days of struggle and strife you will hear the emotion and master craftmanship that is created with each and every delicate and bombastic moment. The vocals when the come in are like a hellfire of commanding statement that must be listened too and respected if not feared. Bravo Malignant for getting this release out to the underground fans that will adore and worship a release of this level of talent...

[Clint / Absolut Zero Media Magazine]

Dedicated to all victims of genocide through the history of mankind"

Toto stručné, výstižné a pochmurné věnování nese prozatím poslední z nahrávek slovenského dark ambientně - orchestrálně industriálního projektu. Ostatně, byla to jedna z prvních věcí, jenž mne při otevření bookletu uhodila do očí. A ač jsem listoval obalem nového CD, jak jsem chtěl, stále jsem nenacházel nic, co by mne vytrhlo z jakési aury anonymity. Ta se totiž zdála velmi neprostupnou, skrývajíce za oponou neznáma tajemnou dvojici, která mi byla dnes naservírována na talíři. Nelibě řečeno, byla předhozena lvům. A stálo by za to položit si otázku, jak si povede pomník lidského utrpení, vpuštěn nahý do mého soukromého amfiteátru?

Sedm skladeb - sedm zastavení nad problematikou lidství v rouše vyzrálého a nápaditého ambientu. Nová nahrávka hovoří o několika zásadních věcech - v první řadě je z alba cítit umělecká profesionalita. Autoři očividně ví, co přesně chtějí dělat a jak. Přeci jen za sebou mají již pár let praxe a teď je na čase sklizeň. Druhým aspektem, který je z hudby už po prvních posleších znát, je zajímavá kompozice zvuků a zvolených nástrojů. Vystřídají se zde klasické ambientní postupy, monumentální fanfáry budící dojem impozantnosti, zvuky, ševel, kovová melodičnost... Za nejzajímavější považuji využití zvláštně zelektrizovaných houslí ve skladbě "Over Deadlands" - v kombinaci s apokalyptickou úderností, podtrženou okultním bubnováním a chorály působí tento element, stáčeje se ve disharmonické spirále, velmi poutavě a tak lehce šíleně. Jindy zase působily housle neuvěřitelně zádumčivě a jaksi pohřebně - jako mrzutá modlitba valící se nad pohřebištěm. Housle jsou použity nápaditě, nevšimnout si jich zkrátka nelze - přesto smyčcová produkce vůbec neruší. Spíše naopak jsem rád za každý úkaz vkusného využití tohoto nástroje - jakožto jeden z nejsložitějších nástrojů může v nezkušených rukách napáchat dosti nepořádku a chaosu. V závěrečných skladbách jsem zase cítil jistou podobnost s "Muse In Arms" německého projektu Triarii. Ona pompéznost a monumentálnost k tomuto srovnání přímo vybízí. S jednou maličkou změnou. "Muse In Arms" mi nepřišlo tolik ponuré. Při poslechu "Earth Shall Not Cover Their Blood" jsem měl pocit, že se procházím v troskách města. Všude na mne civí trosky a torsa secesních soch, vymlácené obchody a ruiny - ruiny kam se podíváš. Nejhorší věc však není zdecimované město, ale existence Vaší osoby - a navíc osamocené v této mrtvé kolébce. Absolutní gradací tohoto stavu je skladba "The Kin of Cain", jenž se dá charakterizovat jako evokace čehosi hrozivého v útrobách opuštěného a zdevastovaného obchodního domu. Šum, praskání a mocné údery, provázeny neuvěřitelně zásvětním hlasem, zanechávají skutečně hodnotné zážitky.

Ač by se tak na první pohled mohlo zdát, "Earth Shall Not Cover Their Blood" není úplně standardním a klasickým ambientním dílem. Čerpá nápady z všemožných studnic a přirozeně je kloubí a komponuje do celkové krásy. Albu svědčí fakt, že bylo moderováno zkušenou a znalou rukou, která nejenže se nebojí experimentů, ale v prozkoumaných vodách se pohybuje s ladností. Lze sice namítnout, že patetičnost a grandióznost díla může klouzat až ke klišé. Nicméně, k čemu je velikášství padlým? Osobně proto vnímám nové album Phragments jako monstrózní pietu, která se zaobírá problematickými otázkami humanity a genocidy lidstva. Jestliže tíhnete k pohřebnímu ambientu, nasáklého industriální černotou, je pro Vás tato novinka dobrým důvodem přehrát si několik morbidně teskných záběrů v panoptiku Vaší fantasie.

[Epizeuxis, Mortem Zine, 7/10]