“The Shape of He to Come” is the first of the “Collective” series, meaning that it diverges from the model of Botanist studio albums as the result of Otrebor doing everything, and instead recording more like a full band with distributed responsibilities. “The Shape” stands as a testimonial to the work, time, and effort that six people put into rehearsing, touring, and composing from the years 2013-2016.
released September 1, 2017
Drums performed by Otrebor and taken from a pre-existing session from 2010.
These were given to D. Neal (dulcimer compositions and performances on “The Shape of He to Come,” “The Reconciliation of Nature and Man,” “Praise Azalea, the Adversary,” and “Upon Veltheim’s Throne Shall I Wait”) and R. Chiang (compositions and performances on “Praise Azalea, the Adversary,” “And the Earth Throws off Its Oppressors,” and “To Join the Continuum”).
D. Neal composed all bass parts on the album (except for the parts on “Praise Azalea,” which were composed by Bezaelith).
All bass parts on this album performed by Balan.
Otrebor then composed and recorded the keyboards, wrote all the lyrics and titled the songs. He wrote the melodic vocal lines for “The Shape,” “The Reconciliation,” and “Upon Veltheim,” and performed melodic vocals for these same songs, plus one small harsh vocal doubling of A. Lindo on one section and the spoken word parts at the end of “Reconciliation.”
Bezaelith performed melodic vocals on all but one song, and wrote the vocal parts for “And the Earth” and “To Join.”
A. Lindo (aka Golem) performed the harsh vocals on the album, and composed his parts for “Praise Azalea,” where he also composed and played the harmonium.
supported by 66 fans who also own “Collective: The Shape of He to Come”
What can you say more after reading the abhorrent bio of this album? This is the black vomit of Tchornobog: abyssal violation of senses and pineal gland and you are not the same person after encountering this multidimensional god. 𝙅𝙤𝙚 𝙎𝙥𝙞𝙣𝙚𝙡𝙡
supported by 53 fans who also own “Collective: The Shape of He to Come”
I've come back to this album to give it it's well-deserved due.
The interpositions are coherent and cold, it's all put together really nicely which adds to the effectiveness of it's depressing atmosphere, and to it's faculty-decimating power.
Throughout the album it often reminds me of the great Bathory, which is always a good thing.
What will you see? Daniel Brown