Reviews
There’s something to be said for predictability. While the experimental has its merits, sometimes there’s no substitute for good old standard-issue. For example, I love adventurous fusion cuisine, but there are moments when nothing but fast food will do it for me, and it’s satisfying in some profound way I don’t need (or want) to understand. That’s why I keep going back to it, right?
This is precisely why albums like Drift in Sodom are valuable. In Meditarivm, the dark ambient outlet of the versatile Olegh Kolyada, who also runs the equally diverse Old Captain imprint in addition to being involved with multiple side-projects, delivers a solid listening experience that doesn’t stray far from genre staples. You’ll hear slow-motion chords and drones, scattered samples, and a general feeling of quiet contemplation, all arranged to flow smoothly, without fuss or bizarre instrumentation. Drift in Sodom isn’t a long album, but since it’s so consistent, it loops beautifully. This is all the more remarkable since two of the tracks, “Solitaria” and “Silentia,” were previously released.
Drift in Sodom fits its title perfectly: it gathers you in and guides you with minimal distractions and through lofty, empty halls. Kolyada has done a fine job evoking a particular atmosphere; there’s little threat in these half-lit places yet plenty of haunting potential. “White are the Bones of Men” layers on the darkness in delicious fashion, with cleverly placed samples moving between speakers and well-formed drones creating a wonderfully deep space. It’s the perfect backdrop for exploring an abandoned castle while moonlight streams in through high windows, playing upon tattered tapestries gone gray and ragged with age. “Sound of Mountain” may have an unusual title, but the emotive keyboards and gentle sounds of wind conjure a strong sense of awe. It’s easy to imagine oneself pausing at a balcony in our vast castle, gazing forth at distant peaks frosted by ice and starlight.
It would be easy, and perhaps even tempting, to dismiss In Meditarivm as unoriginal and superlative. It’s albums like Drift in Sodom, however, that show the value of a work that delivers its content in a straightforward manner. By the way, I don’t mean to imply that this album is the fast-food version of dark ambient; oh no, it’s certainly more than that. Kolyada has keen insight into what makes the genre so attractive, and he knows how to make good on it. He adds just enough exotic strings and pipes to “Black Ziggurat” to communicate place and time without being too blatant; the track becomes an ode to a fallen empire that once ruled the land with glory.
There isn’t much of a cohesive concept in Drift in Sodom, but when the music is delivered with such poise, it doesn’t need one. Ignore the track titles and let yourself sink in; not every album needs to engage you on multiple levels. You may have heard these basic sounds before, but that doesn’t mean Drift in Sodom isn’t a keeper; they’re put together with careful and patient efficiency. Don’t be surprised if this is an album you return to. I listen to a good deal of dark ambient, and this is one I keep revisiting. Every collection needs solid, reliable works like this.
by Edward Rinderle for Heathen Harvest
Source URL: http://heathenharvest.org/2015/10/27/in-meditarivm-drift-in-sodom/
Ci eravamo occupati circa quattro anni fa di questo progetto ucraino, ex-duo ora facente capo al solo Olegh Kolyada (First Human Ferro, Ostarbeiter, Oda Relicta e titolare dell'etichetta Old Captain), segnatamente in occasione di "The Great Limbo", raccolta di materiale del primissimo periodo (1998-2001) con estratti anche dal repertorio di First Human Ferro. Un anno fa è uscita la 'parte II' di "The Great Limbo", ma solo in formato digitale, e sempre nell'estate 2013 è poi uscito anche questo "Drift In Sodom", contenente materiale registrato fra il 2005 e il 2008, inclusi i due brani del vinile 7" del 2005 "Mare Internum" (ultimo lavoro a due che ha coinvolto anche Sergey Svistelnik). Prosegue quindi l'operazione di recupero di materiale inedito o fuori catalogo per In Meditarivm, stavolta con una collezione di brani non solo più concisa, ma anche meno variegata e più univoca nella direzione sonora intrapresa rispetto al materiale di "The Great Limbo". Se i due brani del succitato 7", posti rispettivamente in apertura ed in chiusura del CD, si muovono nei più classici meandri della materia dark ambient, altrettanto fanno le altre cinque tracce incluse, ora con linee più melodiose ("Calvarium", "Sound Of Mountain" con le sue meste folate e "Black Ziggurat", quest'ultima impreziosita da mirabili campionamenti), ora con fare più inquietante ("White Are The Bones Of Men"), elevandosi anche su toni celestiali ("Sandstorm"). In meno di 40 minuti quest'operazione di recupero ci dà la misura di cosa significhi fare veramente dark ambient, non solo a livello tecnico o di esperienza maturata sul campo, ma anche e soprattutto in termini di capacità descrittiva dei suoni ed efficacia nello stimolare sensazioni e visioni (sfruttando le giuste intuizioni senza mai strafare), magari con idee sicuramente non rivoluzionarie, ma di indubbio buon gusto e di comprovata qualità. Per i puristi della dark ambient, In Meditarivm resta a pieno titolo uno dei nomi su cui puntare senza remore.
by Roberto Alessandro Filippozzi at Darkroom Magazine (Italy)
Source URL: http://www.darkroom-magazine.it/ita/104/Recensione.php?r=3111
The latest album from the Ukrainian dark ambient artist Olegh Kolyada, who is also a member of the dark industrial/experimental groups Oda Relicta and First Human Ferro. On Drift In Sodom, Kolyada has collected new recordings from the project along with the the two tracks of apocalyptic drift that originally appeared on their Mare Internum 7" EP, released on Drone Records. All of this stuff reveals a gorgeous realm of blackened, metallic tones and echoing electronic bass-drift, the arrangements are super minimal, the tracks spreading out into vast reflective fields of obsidian electronic drone. In Meditarium's softly whirring ambience often finds itself punctuated with distant bursts of percussive rumble and strange pinging sounds, at times resembling a 1970's horror movie score that has been slowed down and stretched out into this massive expanse of intensely grim, slow-motion drift. Some of the tracks have more of a classic isolationist feel in the tradition of groups like Lull, Sleep Research Facility and Thomas Köner, like the dark grey monochrome driftscapes found on the opening track "Solitaria". Other tracks drift into more sinister territory, like the malevolent chanting and subsonic ambient dread of "Calvarium" and the bizarre bestial utterances and howling seraphic choirs of "White Are The Bones Of Men", the latter taking on a more ritualistic, sepulchral atmosphere. All of this stuff is formed around softly looping drones and distant sound events, the monstrous vocalizations appearing intermittently through the disc, stretching infinitely across the vastness of this music, intruding upon the grey drift with nightmare visions congealing out of the blackness, continuously slipping into realms of deep, aural horror. I really started to dig this album the further in I got; I'm an easy enough mark for solidly produced dark ambient, but when Kolyada and company start to unveil tracks like "Sound Of Mountain" that resemble early German synthesizer music with time-stretched blackened vocals stretched across the almost liturgical atmosphere, it really started to hook me in. The dark ambient soundscapes are further shaded with additional dreamy, choral voices and grim orchestral rumblings, more of those malevolent vocal sounds and the sound of cathedral bells tolling in the distance, leading into deeper swells of aural dread, towards the end revealing waves of glorious incandescent synthesizer that's somewhat reminiscent of Michael Hoenig, fields of shimmering synthdrift sprawling beneath a fading sun. Absolutely recommended to anyone looking for more deep, dark, ominous drift in the vein of Troum, Lull and Yen Pox. Comes in digipack packaging, limited to two hundred copies.
Ci eravamo occupati circa quattro anni fa di questo progetto ucraino, ex-duo ora facente capo al solo Olegh Kolyada (First Human Ferro, Ostarbeiter, Oda Relicta e titolare dell'etichetta Old Captain), segnatamente in occasione di "The Great Limbo", raccolta di materiale del primissimo periodo (1998-2001) con estratti anche dal repertorio di First Human Ferro. Un anno fa è uscita la 'parte II' di "The Great Limbo", ma solo in formato digitale, e sempre nell'estate 2013 è poi uscito anche questo "Drift In Sodom", contenente materiale registrato fra il 2005 e il 2008, inclusi i due brani del vinile 7" del 2005 "Mare Internum" (ultimo lavoro a due che ha coinvolto anche Sergey Svistelnik). Prosegue quindi l'operazione di recupero di materiale inedito o fuori catalogo per In Meditarivm, stavolta con una collezione di brani non solo più concisa, ma anche meno variegata e più univoca nella direzione sonora intrapresa rispetto al materiale di "The Great Limbo". Se i due brani del succitato 7", posti rispettivamente in apertura ed in chiusura del CD, si muovono nei più classici meandri della materia dark ambient, altrettanto fanno le altre cinque tracce incluse, ora con linee più melodiose ("Calvarium", "Sound Of Mountain" con le sue meste folate e "Black Ziggurat", quest'ultima impreziosita da mirabili campionamenti), ora con fare più inquietante ("White Are The Bones Of Men"), elevandosi anche su toni celestiali ("Sandstorm"). In meno di 40 minuti quest'operazione di recupero ci dà la misura di cosa significhi fare veramente dark ambient, non solo a livello tecnico o di esperienza maturata sul campo, ma anche e soprattutto in termini di capacità descrittiva dei suoni ed efficacia nello stimolare sensazioni e visioni (sfruttando le giuste intuizioni senza mai strafare), magari con idee sicuramente non rivoluzionarie, ma di indubbio buon gusto e di comprovata qualità. Per i puristi della dark ambient, In Meditarivm resta a pieno titolo uno dei nomi su cui puntare senza remore.
by Roberto Alessandro Filippozzi at Darkroom Magazine (Italy)
Source URL: http://www.darkroom-magazine.it/ita/104/Recensione.php?r=3111
The latest album from the Ukrainian dark ambient artist Olegh Kolyada, who is also a member of the dark industrial/experimental groups Oda Relicta and First Human Ferro. On Drift In Sodom, Kolyada has collected new recordings from the project along with the the two tracks of apocalyptic drift that originally appeared on their Mare Internum 7" EP, released on Drone Records. All of this stuff reveals a gorgeous realm of blackened, metallic tones and echoing electronic bass-drift, the arrangements are super minimal, the tracks spreading out into vast reflective fields of obsidian electronic drone. In Meditarium's softly whirring ambience often finds itself punctuated with distant bursts of percussive rumble and strange pinging sounds, at times resembling a 1970's horror movie score that has been slowed down and stretched out into this massive expanse of intensely grim, slow-motion drift. Some of the tracks have more of a classic isolationist feel in the tradition of groups like Lull, Sleep Research Facility and Thomas Köner, like the dark grey monochrome driftscapes found on the opening track "Solitaria". Other tracks drift into more sinister territory, like the malevolent chanting and subsonic ambient dread of "Calvarium" and the bizarre bestial utterances and howling seraphic choirs of "White Are The Bones Of Men", the latter taking on a more ritualistic, sepulchral atmosphere. All of this stuff is formed around softly looping drones and distant sound events, the monstrous vocalizations appearing intermittently through the disc, stretching infinitely across the vastness of this music, intruding upon the grey drift with nightmare visions congealing out of the blackness, continuously slipping into realms of deep, aural horror.
I really started to dig this album the further in I got; I'm an easy enough mark for solidly produced dark ambient, but when Kolyada and company start to unveil tracks like "Sound Of Mountain" that resemble early German synthesizer music with time-stretched blackened vocals stretched across the almost liturgical atmosphere, it really started to hook me in. The dark ambient soundscapes are further shaded with additional dreamy, choral voices and grim orchestral rumblings, more of those malevolent vocal sounds and the sound of cathedral bells tolling in the distance, leading into deeper swells of aural dread, towards the end revealing waves of glorious incandescent synthesizer that's somewhat reminiscent of Michael Hoenig, fields of shimmering synthdrift sprawling beneath a fading sun. Absolutely recommended to anyone looking for more deep, dark, ominous drift in the vein of Troum, Lull and Yen Pox. Comes in digipack packaging, limited to two hundred copies.
Olegh Kolyada is an old post-industrial fox capable to create both dark and nostalgic ambient music, as well as noisier forms of electronic music. As he’s a full-fledged professional, it’s obvious that this Ukrainian never goes below a certain level of decency. Like in the case of the first In Meditarivm album “The Great Limbo” released by Wrotycz Records. I’d lie by saying that I’m an avowed fan of that release, I have my objections, but overall it was quite a solid production. Olegh Kolyada decided to show the world this second In Meditarivm proposition through his own label, Old Captain.
This particular project probably unveils the darkest face of the Ukrainian musician who refers to the golden years of Cold Meat Industry through his dark ambient works. Seven tracks, thirty-five minutes of music. Not much, but it’s a formula I prefer in comparison to “The Great Limbo” that was divided in eighteen segments, the length of most of which fluctuated around two, three minutes. Such duration of a track in my opinion doesn’t allow the musician to, metaphorically speaking, spread their wings within one track, but in the long run on the whole album as well.
On “Drift In Sodom” there are less compositions, but at least they are longer. Even the very first one demonstrates that in such structures Olegh feels like a fish in water. “Solitaria” (as well as the last track, “Silentia”) was previously published on the vinyl EP “Mare Internum” released by Drone Records. So it’s not at all surprising that “Solitaria” slowly winds round the listener with dense drones of quite tarry consistency. Although the prevailing atmosphere isn’t uniquely diabolical, Olegh found here a place for a certain understatement. In the sound itself I notice some connotations with Amon from Italy. While “Calvarium” is a different story; darkness and pain burst out of this composition, almost physically affecting the listener. The low-tuned sound textures and subtle choral parts are painting an image of Calvary drenched in the rain – there’s horror, but also a certain amount of solemn, almost religious atmosphere.
A landscape after battle, a vast plain, covered by thousands of dead bodies almost to the horizon line. Ravens pecking at the still warm corpses; this is “White Are The Bones Of Men”, one of the strongest pieces on the album. Though I’m not sure if it isn’t “Sound Of Mountain” that hits me the most, where Olegh has resigned from the musical horror for the sake of a mystical mystery, difficult to put into words to be honest. The choir part is the foundation of the track, just as in a short piece called “Sandstorm”. This title isn’t fully adequate to describe what is pouring out of the speakers. Unless you imagine a big, empty cathedral in the middle of a storm-stricken desert.
The longer we walk on Sodom, the less fear we feel. The listener gets used to the corruption surrounding him from all sides, meditation replaces terror. From “Calvarium” onwards every composition seems to bring a bit more light than the previous one: “Black Ziggurat” refers to the most melancholic compositions of Raison d’être. But the grand finale, “Silentia”, reminds us that we should be careful all the time, because at any moment a spectral being can absorb us in its inner void. Less than forty minutes have passed, I begin to drift in music. “Drift In Sodom” ends.
And it’s basically the only serious flaw of the album. It’s nice that the songs are longer and more complex than those of “The Great Limbo”, but a shame that Olegh didn’t decide to add two or three more compositions, so that this whole vision of Sodom bathed in ashen mist would have become even more suggestive. Maybe next time. Industrial forms on “Drift In Sodom” are basically absent, it’s definitely a dark ambient album with a strong religious element. For fans of Raison d’être it’s a perfect proposition, although there is no denying that the sound structuring derives from Olegh’s flagship project, First Human Ferro. This musician has developed his own style, which is very important. And if he’s about to continue giving vent to his creativity in such a way as on “Drift In Sodom”, I don’t mind at all.
by stark (Santa Sangre)
Source URL: http://santasangremagazine.wordpress.com/2014/01/26/in-meditarivm-drift-in-sodom-englishpolish/
Музыка «In Meditarium» одного из проектов Олега Коляды, собранная здесь под провокационным названием «Drift In Sodom», служит отражением странных состояний души и дела: легко предположить, что образы, навеянные этим тягучим и глубоким dark drone ambient`том, возникают в состоянии сна, причем сна «нездорового», вызванного долгим расстройством, повлекшим за собой принятие больших доз медикаментов, способных заглушить восприятие, отгородить его от реальности и оправить в далекий и опасный дрифт. Как известно, с медикаментами главное не переусердствовать, иначе сон перейдет в агонию, за которой наступит Вечное Ничто. Сложно понять, в каком состоянии находится «лирический герой» этого альбома (и есть ли он вообще), но репринт картины на развороте диджипака наводит на мысль, что в реальность он из своего болезненного состояния уже не вернется – да и не особенно этого ему хотелось, он выбрал Великий Сон, в котором в тягучем, абстрактном калейдоскопе в последние моменты затухающего сознания возникают и исчезают целые миры, смешиваются времена и люди, ставшие только тенями извечных и скрытых процессов бытия.
Стартуя и финишируя треками с «семерки», выпущенной в свое время на «Drone Records», этот альбом скользит между классическими приемами «темного искусства» в сторону дроновой неподвижности, по пути захватывая и делая своей неотъемлемой частью привычные отголоски постиндустриального грохота, церковные хоралы, связующие темные закоулки привычной реальности с мистическими уровнями, а также восточный мистицизм, пробравшийся через барханы Шелкового Пути и ставший основой средневековой алхимии, следы которой можно обнаружить в расплавленной, тугой и вязкой звуковой массе композиций, созидающей из звуковых потоков явные и не очень миражи из осколков памяти. При этом музыка не требует фиксации внимания на себе, как и положено возникающим в полудреме видениям, она существует как бы обособлено, порождая образы и видения, возникающие только по ей одной видимым законам – но очень скоро эти звуки поглощают слушателя целиком, попытки взмахнуть руками и разогнать морок коматозного сна/агонии ни к чему не приводят, и остается только плыть по течению, «через Запад на Восток», в царство тишины и покоя, где наносной покров цивилизации облезает до костей, обнажая суть человека, решившегося на этот поступок или под влиянием отчаяния и непонимания, или же из-за сильного интереса, в попытке разобраться, что и как устроено в этом мире. Да и во всех других. Короткий альбом, обреченный на долгий «repeat». И очень сильный, со своей, потусторонней энергетикой, взращенной на бескрайних полях боли и надежды.
by maeror3
Source URL: http://maeror3.livejournal.com/318041.html
Usano il loto come avatar Olegh Kolyada e Sergey Svistelnik, loto che simbolicamente rappresenta una delle sue mille personalità artistiche, In Meditarium, lontano da tutto il resto della sua copiosa produzione, il loto o nelumbo, che nasce nel fango e si eleva verso la luce, radica nel profondo degli stagni per fiorire in superficie, illuminato dal Sole, illuminante per tutta la cultura induista e buddista.
E’ il simbolo dei chakra: anche loro iniziano ad esistere nelle parti più basse del nostro corpo (il fango allegorico) e si elevano alla mente, al nono punto che risiede nella parte alta della testa, là dove l’Illuminazione diviene coscienza, la percezione norma, l’astrazione dal corpo difficile conquista.
“Drift In Sodom”, se lo vorrete, potrebbe dei nove chakra esserne la musica, didascalica, esplorativa, lontana ovviamente dalla new-age, profonda come il respiro durante una meditazione intensa, silente ed interiore, una linea che esiste nel corpo, nelle sette trace dell’album, nella coscienza astratta e non filtrata, sette tracce legate dal drone esteso, come lo è la spina dorsale che idealmente i chakra unisce nel percorso energetico, sino alla fioritura anche sonora che non per forza deve essere sfarzosa o luminosa perché in essa risiede la radiazione più sottile che ‘nutre’ il Cosmo di luce, di buio, di frequenze non visibili, di radiazioni ed onde, in poche parole è la sintesi della Vita, del Suono, quindi della musica stessa.
“Drift In Sodom” è anche la vita stessa del progetto In Meditarium: il combo ha composto tra il 2005 ed il 2008 le sette tracce del dischetto, tra un album di Oda Relicta, Ostarbeiter, First Human Ferro, giusto per citare act dell’ucraino presenti tra le nostre pagine.
Non c’è mai nessuna fretta nel comporre ed una verità è in “Drift Of Sodom” è intrinseca: nonostante un arco di tre anni le tracce hanno un filo invisibile che le rilega, le rende sinfonia noir, dona loro omogenea bellezza.
Droni profondi ma anche voci profonde, allungate, cupe: “Silentia” nel finale ha quel misticismo occulto e rituale tipico del compositore ucraino, profonda verità celata nella voce lontana, coperta dalle stesure di synth ma captabile nel suo eco immenso, basso, mantrico.
La religione non è solo dogma ma soprattutto in musica diviene esperienza extra-corporea, legame con il Cosmo profondo e la musica di In Meditarium si lega con le zone più recondite dell’Immensità, dove tutto è freddo, lontano, arcaico, anche il suono, una manifestazione del drone-ambient tipicamente europea che sta però espandendosi con veemenza in tutto l’Est vedendo proprio la coppia di campionatori capostipiti e riferimenti concreti per il post-industrialismo in questa veste ambientale.
by Nicola Tenani (Sounds Behind The Corner)
Source URL: http://www.soundsbehindthecorner.org/the-cave/1220-in-meditarium-drift-in-sodom.html
IN MEDITARIVM ist ein älteres, wohl nicht ganz so bekanntes Projekt von Labelbetreiber OLEGH KOLYADA selbst – später in Zusammenarbeit mit SERGEY SVISTELNIK – und er hat Stücke aus dem Zeitraum bis 2008 versammelt, darunter zwei Tracks aus einer DRONE RECORDS-Serie. Im Laufe des Jahres soll noch eine 4CD-Box erscheinen, die dann weitere, frühere Werke von IN MEDITARIVM enthält. "Drift In Sodom" besteht im Wesentlichen aus langen, bedrohlichen, einzelnen Drones, die leicht vibrieren und wabern. Bassige Flächen mit – oberflächlich – wenig Abwechslung, aber möglicherweise gerade deshalb sehr eindrücklich und bleibend, mit einer nach innen gekehrten Note. Manchmal wirken Passagen wie große, wispernde Stimmen, immer an der Grenze zur Verständlichkeit. Wieder einmal beweist sich OLEGH als Meister der (dunklen) Stimmungen, baut Drone-Gebäude, die – je länger man hinein hört – nach und nach wie ein fremdartiger, betörender Gesang erscheinen. Mächtig!
by Michael We. (NonPop)
Source URL: http://www.nonpop.de/nonpop/index.php?mkey=Angespielt-JASTREB-LAKOBEIL-IN-&type=special&area=1&p=articles&id=2511
In Meditarivm был одним из первых украинских проектов в стиле dark ambient и, несмотря на ширящуюся популярность этого направления сегодня, продолжает делать музыку качественно отличающуюся от большинства проектов. Во времена, когда каждый школьник может растянуть "Владимирский централ" в 8 раз, сделав из него унылое гудение, когда vst-плагины позволяют записывать практически любой стиль музыки нажатием парочки клавиш, настоящее звукотворчество оказывается в тени еще более густой, чем она была в начале 90-х. Впрочем, Брайан "Lustmord" Вильямс того и гляди скоро начнет собирать стадионы, так что в тени остались лишь те, кто не собирался ее покидать изначально. Музыка житомирского музыканта Олега Коляды создана не для масс и не для любой пары ушей, она скроена из тонких и ветхих лоскутов ткани, на серых изгибах которой проглядывают оккультные символы и обрывки чьих-то дневников. Это музыка уединения и тишины, личное пространство, любое вмешательство в которое может разрушить гипнотическое оцепенение звукового пейзажа. Используя минимум выразительных средств, In Meditarivm оказывается в пограничной зоне между ритуальным эмбиентом и изоляционизмом. Звуковые полотна этого альбома не нарушают никакие резкие звуки, все переходы плавны, как изгибы песчаных дюн... Этот застывший в едва заметной динамике мир вращается вокруг угасающей звезды, его история скрыта от слушателя, мы наблюдаем лишь неспешно разворачивающийся финальный аккорд, в котором последний его житель выпивает порцию яда, дабы ускорить неминуемую смерть. Тема греховности и раскаяния для этого альбома была выбрана неспроста, ведь в самой музыке много щемящей эмоциональности. Здесь то, о чем человек не может сказать вслух, обращается против него, порождая замкнутый круг из попыток самоочищения и самокопания в не совсем приятных воспоминаниях. Одно без другого произойти не может, и музыкальная сторона здесь отлично оттеняет сторону подсознательно ощутимую – музыка ставит вопрос, принуждает сделать выбор. Стоит лишь один раз окунуться в темные лабиринты пульсирующего баса и приглушенный шум ее серых пустошей, как уже становится невозможным оставить альбом пылиться где-то на полке. Атмосферу диска сложно назвать уютной, но в этом его предназначение и раскрывается – напоминать, что всегда нужно смотреть дальше поверхности, ведь именно в глубинах таятся самые мощные энергии. Только на треке Black Ziggurat можно более-менее четко разобрать отдельные инструменты и нарисовать отчетливый образ, в остальном альбом звучит гулко, протяжно и шершаво, продолжая традиции классического дарк эмбиента, не вдаваясь в карнавальный грохот индастриала или нарочито пугающее нагромождение звуков. И если большинство проектов современного дарк эмбиента кроме головной боли или смеха ничего вызвать не могут (во многом повторяя диагноз современных фильмов ужасов), то Drift in Sodom отправляет слушателя в ту темноту, которую никакой свет разогнать не может. Это тень, что существует в глубине каждой личности, и порой требуется немало смелости, чтобы начать с ней диалог.
by Pied Paper (Neformat)
Source URL: http://www.neformat.com.ua/reviews/in-meditarivm-drift-in-sodom-2013.html
