In Solitude's
'Sister' has certainly been a massively striking album for
many of us who have been appreciating their music throughout the years, and like
it has often been mentioned, it is undeniably an album which once it has entered
your soul, there it remains: growing deeper listen after listen, it keeps
offering new insights and new experiences of different sides of itself every
time you give it a spin.
In this brief article, we would like to specifically focus on two of the
-arguably, perhaps?- most important and strongest songs on
'Sister',
which happen to be the one that opens the album and the one who closes it:
"He Comes" and
"Inmost Nigredo".
It is perhaps not surprising that these two pieces are placed exactly where they
are, as they represent two very different poles, musically, of In Solitude's
creation:
"He Comes" offers the acoustic, folk and bluesy side, dwelling
so masterfully in a melancholic yet anticipating and allusive mood; while
"Inmost Nigredo" carries the listener in an intense vortex of guitars,
involving atmospheric black metal-sounding tremolo riffs here and there
(delivered on the record by none other than Pelle Forsberg of WATAIN), powerful
drums that seem to grab and shake you, passionate vocals that splendidly express
a sort of excruciating, yet ecstatic, inner and outer breakthrough.
Both songs, in their own way, surely manage to overwhelm, captivate, and even
engross their listeners: in this, they actually touch like the two extremes of a
circle.
To celebrate and and homage these two magnificent songs, in this article we will
collect all that has been said and explained about each one of them by In
Solitude's members themselves, quoting from interviews during the years after
the release of
'Sister'; we will also include here some live performances
of the songs (only one available at the moment for
"Inmost Nigredo" - but it is a
very powerful performance).
