Creating music as a duo can present a paradoxical dynamic. It can be both easier, as there is only one other person to get in tune with, and more challenging when conflicts do arise, as the intricate interplay between two artistic visions will require a fine balance of compromise and creative synergy. Maria and Coley, the two members of Ragana, take turns on guitar, drums, and vocals, and since 2012 this approach has allowed them to maintain interest with their hybrid of unrefined Black/Doom Metal. Despite now being singed to a label, The Flenser, the band continue in their own raw tradition on Desolation’s Flower.
The album starts strong and Ragana ambitiously craft a wall of sound atmosphere from the outset, even in the absence of a bass. Their deliberate, slow pace and dreariness emanate a weight that feels like trudging through mud. The pair execute drums and guitar interplay well, and as the intensity ramps up, the echo-cast chords sound near anthemic. Contrasting with the overtly disheartened vocals, this early collision creates a compelling clash that I wish the band had delved into more deeply throughout the whole of Desolation’s Flower. But Ragana still create sonic landscapes that can at times captivate, whether it’s by the subtle use of a cymbal or an unexpected note change. While “Desolation’s Flower” is marked by simplicity, it is by no means simplistic. It often seems to follow a pattern found in nature: it blooms with intensity before it wilts with heartbreak, disillusionment, pain and rage (“DTA” is a prime example of this). There are moments where the balance starts feeling askew, though, so don’t be surprised if you also start developing preferences, perhaps favoring a particular vocalist, for instance.
As Ragana approach the final two songs, there’s a noticeable shift in register. “Pain” and “In the Light of the Burning World” venture into a more delicate, almost Gaze-y territory which strikes a chord with my inner Indie lover. While I might not personally grasp the need behind this change in pace, I appreciate that music originating from a place where there are things to say can often transcend more traditional genre boundaries. For all its previous heaviness, this is a welcome and refreshing change. The end lyrics “We live in the light of the burning world” complemented by the sound of the waves crashing in wrap up Desolation’s Flower nicely. However, at this stage I’m uncertain whether this ending is sufficient to prevent this album from washing away from me.
