Delusive Relics Strike Hard with The Blind Owl

By Deuce

The first thing to come to mind—immediately, that is, as in seconds into the opening tune “Writing for My Shadow”—on the latest Long Player from Delusive Relics entitled The Blind Owl is who on earth’s playing that piano?

The answer, however, isn’t quite as straightforward as the necessity of the question, which does nothing to lessen the impact of those high-octane, groovilicous ivory licks that run one into each other in a seemingly never ending parade of pitched horror.

Chances are its Farhood Nik (the producer) or Anis Oveisi, who are credited with “running” this project. There’s an off chance some of it might be attributed to B-Astre and Venessa Hale, who lay down guest vocals and are acknowledged as doing some playing on this oeuvre.

But whoever it is, or whatever combination of the aforementioned it might be, somebody tell them don’t stop. At least not for a while. I mean, it could just be a fluke that the opener, “Shadow”, sounds suspiciously like the classic piano idiom from either the film Halloween or Friday the 13th, right? All of its elements—haunting, deliberate, full of anticipation and fleetingly shadowed thoughts—come to life in what, for the most part, is merely an introduction bereft of other instruments. Eventually the bass, drums, synths, and one of the female vocalists take center stage, with the instruments conspicuously following that lingering, lurid melody.

But then the tracks shift to “Woman in Black” and “Painting from Dead Body” and yes, it’s too good to be true—more of the same striking, eerie sounding piano chops guiding the songs, taking them into the darkened lands where anything can happen, and you’re better off hoping it doesn’t.

“Black” is sinister enough to rap over, especially for those who understand the true intention of this format as expressed a couple decades ago—and it doesn’t even have a bass line. The snare is corpulent, the drums crisp, and there’s some wavering string sound, so low key it’s unnoticeable and you’re not aware of it until it takes over things during a break in the drums until, well… perfection is the term that comes to mind.

The scariness only crescendos as “Painting from Dead Body” comes in with chilling effects panned behind yet another tense piano foreground. Yeah, whatever becomes of the Relics and their guests please, don’t stop those pianos.

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