The title Evergloom could very well be chosen to best describe the sound of the album as a writhing, atmospheric, depressive mass whose spheres are inescapable, a metaphor for the challenges and inherent depression of modern living. It could also be chosen in an attempt at Search Engine Optimization, subconsciously making the inclined listener link it with the immensely popular Worm and their Gloomlord and Foreverglade albums. I believe neither is quite true, of course, but it does speak volumes that a band that attempts a somewhat similar sound will go for a similar aesthetic. The promo blurb compares the band to bands like Intestine Baalism and Edge of Sanity, which I feel is a stretch for how THORN sound. Direct comparisons are tough with a band like this, but the nearest comparison I would bring forth is Funeral Doom act Convocation, who have attempted a similar soundscape, albeit in a Funeral Doom setting.
Bands like these always have to wrangle the atmosphere – or the space of the record – with actually serving up material. The two aspects can often be at odds, as the easiest way of producing space is reverb and general processing techniques, which can obfuscate rhythm and make melodies and harmonies less legible. Naturally, THORN has the same issues as a lot of similar acts. An atmosphere can only get so crushing and at times, I wish that THORN would give me more to grasp onto. Peering behind the intricate layering of instruments, different reverbs and generally murky production is often a band whose sound appears barbaric and violent. The production choices can lessen the impact here, but as the album goes on, the band manages to find material which pierces the veil of murk better and better. Evergloom indeed gets much better as it goes along and THORN has a good grasp of when to pull back the murk from time to time. This is best exemplified in the contrast between fourth track “Gaze of the Seer” and its followup “Wastelands Dimly Lit”. The former is one of the most atmospheric tracks on the album, heavily focusing on producing different sonic spaces and wisely ending on just a few atmospheric guitar chords without any drums or bass. The latter, however, could almost be a Brutal Death Metal or Grindcore track if produced differently and serves up two minutes of pure, unadulterated barbarity. The band can certainly utilize this contrast well and this is an area the band has some untapped potential, still if it were applied to other aspects of the songwriting. The band uses some very nice double tracked vocals, layering shrieks and lows to appeal monstrous, but maybe pulling back this performance could enhance the sound further – as it stands, the band is always on. Generally, the album could use more of the loud and quiet dichotomy and maybe dip into a dichotomy of mellow and harsh more often, as well. This doesn´t mean to discount the band, of course, and THORN remains an act to watch, even if the curtains of Murk have not been pierced yet.
