King Vatra – Bells From The Deep Review

What does King Vatra sound like?

Chants from the dungeons and ethereal hues from the mist.

The review of ‘Bells From The Deep’ by King Vatra

Andy Aquarius uses his King Vatra alter ego to explore his more ethereal, chant-based side of mysterious folk music. He terms the music “Vapor Cave” as he imagines the music taking place in caves and dungeons of the King. For ‘Bells From The Deep’, Vatra deconstructed Romanian and French poetry and folklore, singing them like long-lost laments from the deep.

What surprised me with this album is just how textured it is. The opening track, ‘Felie Mariae’, is an aural tone that glistens and numbs in equal measure. Distant chants can be heard, but they never take full shape over the numbing comfort of the synth work. ‘Trempette Des Morts’ uses cavern noises and distant ocean waves turned white noise to lull the listener into a sombre mood. King Vatra sings with a slight vocoder to his voice, reminding me a little of Jonathan Hulten. When the vocals aren’t treated, the soft vocals are reminiscent of Peter Ulrich, and that’s what we get with the cinematic ‘Din Somnul’. Militant marching drums and organs lead the way. Hints of chaos through distant electric guitar feedback add to the atmosphere, while some wooden block percussion adds a certain atonal oddness to it.

‘Rau Ma Dor’ is a haunting, layered vocal performance. The long tail cavernous reverb lets each line rebound around the speakers and ring out like its own keyboard. It is such a comforting, warm, and otherworldly sound. Whilst the song is peaceful and reflective, it soothed my soul with its unrushed approach. ‘Minonton’ brings King Vatra’s harp harmonics to the party with a ballad that’s equal parts delicately beautiful and oppressively fatigued. This is the perfect theme song for an oubliette. Between the tick-tock of the harp harmonics and the mumbled, gravelly, low hum of the Gregorian chant, it is the kind of thing Peter Bjargo or Dead Can Dance in their orchestral era could create.

By the time we hit ‘Wage, Der Du Hoerst’, we have a nighttime howl of ethereal voices over vaporwave-style synths. The cinematic tones of the howling chant make the retro-sounding, thick synths twist into an eerie shadow of a past horror. It’s the main track that hammers home the “vapor cave” aesthetic that King Vatra speaks of. The title track rounds off the album in a similar vein, but its tones and melodies feel more uplifting. The music evokes seeing sunlight for the first time, and the triumphant church bells that drape around the melodies at certain points sell the elation. Not all is well, as other synths and organs have huge, bassy gulps and bellows, but each time the song returns bolder in its sunny demeanour. It’s an excellent way to close the album.

I can safely say, I’m a dungeon chant and vapor cave convert after exploring this album. King Vatra may be a second project for Andy Aquarius, but it doesn’t feel secondary in scope, style, or quality. Ambient can often be boring and dull, but this album never stands still. Its echoes haunt every nook and cranny of the dungeon walls and feel alive with ghosts from centuries ago. Fantastic.

Recommended track: Minonton

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