_Dooom_ was a good example for a weird, hostile and alienating an effort, which was both almost exclusively dissonant and virtually anti-musical with its many 'counter-hooks' (think of hooks in metal and their traditional meaning of being a musical phrase that stands out and is easily remembered, and turn this very definition upside down) and its plodding pace bearing no dynamics other than the sheer weight of the music itself, that somehow made the tunes crawl to their inevitable conclusion by inertia. Sounds atrocious? Bet your ass it does, but in the utmost positive sense, because _Dooom_ is an unrelenting masterpiece of sonic pain, yet I cannot remember even a single riff or one bit of a track off that record, simply because the music on _Dooom_ was indeed unmemorable due to its complex and disjointed nature with nothing really to remember but the unnerving, unsettling experience you just underwent. But I still loved the album, for the experience it engineered was extraordinary while it lasted, or while the album played, so who cares what happens after the last decibel is silenced?

_Terranean Wake_ takes a step back in relation to the extreme unfriendliness of _Dooom_. It displays a higher sense of melody and complexity; it is however as fragmented and disjointed as its predecessor. It seems every time Doommonger is trying to compose an album that would be more hostile and harder to swallow than the previous one, he somehow manages to write something more beautiful and engaging, even unintentionally, because these tunes, although surely not sweet melodies or lullabies -- these are nightmarish outputs, unmerciful and endlessly dark -- they do contain a strong, undeniable, intrinsic melodic factor which is obviously apparent throughout the recording.

The tracks are excruciatingly long; long, I say, not boring. The dynamics are still all fucked up, because not only does the music roll forwards at a snail's pace, but while doing so also does it stop, it lingers, takes a stride forwards and than three strides back, then goes about in circles, turns this corner and that corner, until it finally decides to take another real yet barely noticeable step forward, towards completion and termination. The music's sonic and emotional dimensions serve as obstacles, intentionally interfering with the linear movement of this behemoth, each riff or drum bit -- a barrier. The music's own weight, as if too much of a burden, revolves around itself in scorching circles until it drains. That's why the music is anything but linear; it is almost chaotic in the sense it is unpredictable, as if constantly invented ad hoc.

The strange melodies Doommonger composes are just that: strange. He does not adhere to traditional song writing dogmas, the music hence is devoid of any constant pace or structure, being almost improvisational and fragmented. While he uses the wailing, high-pitched weeping guitars as melody generators sparingly, these occasions are more than enough to make them noticeable amidst the gray, crumbling universe of degenerated musical landscapes presiding, being represented by the phenomenally monstrous vocals, the heaviest 'rhythm' guitars in the world (I use the word 'rhythm' extremely loosely here) and the enormous drum sound -- as rare as its appearance may be, each impact between stick and skin is like a supernova explosion.

Reviewing any Worship album is a challenge like no other. But listening to a Worship album holds even greater a challenge. I mean really listen, absorb this unique, rare, unfathomable beast into your consciousness and relate with the pain it emanates. Worship's music, generally speaking, is not a tool for enjoyment or fun; it is anything but catchy and definitely not something you could listen to in the background; it is demanding, but also rewarding in so many ways, it is beyond the scope of a mere review to describe.

I'm not recommending this album to the masses, because I really think only few and select could appreciate the substance and non-musicality that come with the emotional burden it contains and emanates. Try it and be your own judge. I assure you though, Worship's music isn't like anything you have ever heard before; it's not yet another cliché-ridden funeral doom; it's the definition of funeral doom yet it stands in its own solitary, dark cubicle amidst the style, but in reality it is removed so much from everything you know about slow, crushing funereal metal, that it is safe to say Worship have invented their own style, polarized from everything out there. It's like referring to Gorguts' album _Obscura_, calling it 'death metal'. Sure, it is death metal, but is it really death metal?