Music Review - When Synth Met Metal: Gör FLsh’s “For the Kvlt”

Details: By Loron Hays; 26 May 2018

Gor Flsh

Sssshhhh.

Listen.

It is there, sliding down in between the falling rain. The End of Days is pouring down upon us. There will be no escape from the twisted and tortured existence as the kingdom of Man gives way to the rise of Beasts.

The blackness offered by the ease of the night is our only relief. And Gör FLsh knows this; he breathes that truth and, as the final crush of the last building tumbles down upon us, it will be his music that reigns on into the void…

The end of the world sounds like this. For the Kvlt is an album for the Outsider.

Gor FLsh

Nonstop and brutal as hell, I can almost assuredly tell you that “Normies” aren’t going to understand the intensity of Gör FLsh’s For the Kvlt. Ten raging tracks of electronic wild mood swings and crunching guitars that works in unison to sound out...

DING.

DONG.

DOOM.

That’s right; the impending apocalypse has its soundtrack thanks to the metallic mayhem of Gör FLsh’s latest release.

Sound the alarms! That’s the flesh of “First Blood (Intro)”, a dynamically layered opening track that ushers in all the damned in a quick couple of minutes as synths sustain their tones and a massive guitar line is secured. And then “LesTenebres Pt. 1” comes thundering in. All sense is lost as the crush and crunch of the apocalypse is felt and heard. It is the quiet before the storm as the synths take over, actually hushing the guitars, and then Hell itself breaks loose.

"the impending apocalypse has its soundtrack thanks to the metallic mayhem of Gör FLsh’s latest release."

The harvester of souls has arrived with the slow burn that is “Killing it” and, with a veiled arrival of muted sounds; the song is very much the unofficial dark anthem of this killer release. Synths so perfectly meld with chord hums and guitar lines before disappearing into the ether that, when it is all reduced to a simple kick drum, you too might lose yourself. This entire release is a production of maturity for the artist. Consistently amazing, the technical prowess on display is absolutely on fire.

It is only the trickle of keys of “Long Roads” that brings you back from the void. And what a tasty song it is. Full of shifts in textures and tones, one might be expecting Bruce Dickinson himself to start wailing and then the drum’n’bass kicks in. Wow. It is moments like that – in which clashing styles merge together to create something wholly unique and HAUNTING – that will keep you coming back to Gör FLsh’s trashed and thrashed landscape.

With “Our Distorted Lives” and “For the Kvlt”, the guitar takes center stage and, thanks to the one-two punch of pulverizing pistons laying down a rhythm, we are transported to a world where even low hanging branches carry their fair share of weight; however dead or not said weight is. Neoclassical metal meets its maker with “Try, Fail, Repeat”, though, as a delicate frailty of synthetic orchestral florae gives way to a right-minded metal rocker. Slow and low, that is the tempo indeed, Beastie Boy.

But the halcyon introductory tones of “On the Altar” bring back the edge and the crunch of the release. The result of this slow break-in of synthetic punishments is a reminder of the filth and the fury that is the heavy metal mindset of the French-Canadian artist. And those synths? They get all sorts of grimy in this twisted merging of musical worlds as the song morphs into “Les Tenebres (Pt. II)” and absolutely brings us to our knees, right before the prolonged notes and tones of “Last Blood” closes the ceremony.

There is a layered darkness to the electronic madness of this release. The guitars have been blackened by a twisted presence deep below the Earth’s surface. The synths are haunting and perverse, anointed by that same horned figure. Everything beckons for repeat listens. Electronic doom metal makes minds happy!

If this is end of the times, then let Gör FLsh be our pied piper, kiddos. Hail Satan!