It seems that only yesterday I marveled at the melody from Between Bronze Walls from The Ruins of Beverast debut Unlock the Shrine. Partially, it is because I have become enamored by this composition, re-listening to it periodically. Yet, the above mentioned debut, even though taking shape in 2004, did not get exposure in the US until Battle Kommand Records re-released it last year. Ironically, by then Alexander von Meilenwald, the sole mastermind behind The Ruins of Beverast, has already moved on, creating an entirely new level of darkness with Rain Upon the Impure.

In a word of caution – you can’t come unprepared trying to absorb this album. The CD should come with the sticker “Only the experienced black metal listeners allowed. Prior experience with gloriously austere and frightening music strongly recommended.” Why? If with Unlock the Shrine one could trace Alexander’s movement alongside French religious BM, with Rain Upon the Impure he reaches for his own level of kvltness.

I can hardly name you any other album where the intent to underproduce it so fully matched the purpose. As raw as the production is on Rain Upon the Impure, and it is rawer than blood dripping meat, it makes perfect sense once you begin to understand the rationale. With extremely low sonic levels, the album subjects the listener to guitars, which tremolo is often a complete melodic wind blur, an angry disturbed beehive emitting melodic buzz and fuzz of its own specific frequency. Non-existent bass and barely audible drums simply punctuate. Alongside a variety of voices, ranging from blacksmith’s blower to wild boar roaring from afar to clean, almost religious sounding, choirs, such guitar blur induces a true state of trance on 50 Forts Along the Rhine. Blood Vaults (I: Thy Virginal Malodour) further perpetuates the feeling by eventually falling down in slo-mo into the hollow cavern escorted by thundering whispers. Once down at the bottom, Soliloquy of the Stigmatised Shepherd will make sure the emitted funeral doom comes as if from the dungeon, the bells towering up above, unreachable. There is no way the voice can escape from this subterranean cell, even if church-like singing prayer is invoked. And what deity can really be worshipped given this music?

Soil of the Incestuous crystallizes the atmosphere of utter decadence and decay captured so profoundly on Rain Upon the Impure. Mid-pace or blastbeat, sweet voices of female vampires or succubae, synthesized hammers or free flowing river of melody – the final message is clear. The chaos will reign and descent will continue, through the blackened drone of Balnaa-Kheil the Bleak, to the ugly and frightening closer title track.

Bleak brown booklet, with utterly unintelligible text one needs the magnifying glass to read, completes the feeling. Listening to this, while holding this piece of artwork, makes for even more physical reception of the album. The album does last for nearly 80 min, long albums becoming a trademark of The Ruins of Beverast. Compressed a little, Rain Upon the Impure could have been a little easier to comprehend, but if in need to listen to a long soundtrack worshipping the sheer loneliness and isolation, this one might be it. It makes your life look bleak (this is one perfect word to capture the album), even if played as background music. I needed a sunny day outside to be able to shake it off. Just like I said at the very top – come prepared.