“Unending holy bloom that cannot be denied.”
It’s been some time since a substantial release from Ragana, a unit who are quietly respected. Their eleven year studio catalogue that remains under-explored by the worldwide heavy community. In 2022 they revisited some of these early works through some well-deserved James Plotkin remasters. There’s much more to them than a short genre statement, but at their most intense, Ragana play black metal. Their approach has much in common with the songwriting of atmospheric black metal, particularly Wolves in the Throne Room, Agalloch, and Falls of Rauros, to name some fellow west coast acts. Ragana stay distinct by keeping the writing simple and satisfying, avoiding overwrought effect worship. They often step into ‘doom’ territory when they slow things down, and the spirit of DIY punk and anarchism is unmissable. Desolation’s Flower is their new album and demonstrates that this combination works very well.
“Desolation’s Flower” is a massive lead single to launch the record with. It starts with that doom-like sound; wretched vocals above a moving riff, becoming full tilt black metal at the three minute mark. There’s only a few distinct riffs across its eight minutes, but all the beat switches keep it fresh and satisfying, and the steady pace feels natural. “Woe” and “Ruins” are both solid tracks with strong vocal performances that leave no breath behind. “DTA” (“Death to America”) is an anti-ballad, starting out as if romantic, but there’s no peace here. It decries how one feels complicit in the actions of a foul state, and how this can leave us dehumanised and numb.
“Winter’s Light Pt. 2” is the record’s secod black metal epic with a dirge-like outro and the album’s most chilling lyric: “There is no return to a place before pain”. It’s the last-gasp for blast beats on the album, as final two tracks occupy a distinct emotional space. “Pain” steps into the major key with its big, harmonious riff and gentler vocals. It’s another song where Ragana’s humble songwriting approach succeeds, needing no more than two verses and two choruses with some rhythmic switches to keep things memorable. “In the Light of the Burning World” is similarly sombre and slow, returning to harsh vocals to close out Desolation’s Flower. From side A’s abject darkness to side B’s silver linings, the record is structurally deliberate, adding another memorable aspect to it.
The production is true to the two-piece’s live sound – there’s no need for bass and other overdubs. The few sounds that are present have been marvellously captured by engineer Nicholas Wilbur (also responsible for Divide and Dissolve, Planning For Burial and Have a Nice Life). The only extra sounds are a few samples, like on “DTA”, where the bridge chaotically samples a riot in the band’s hometown of Oakland. Ragana’s simplicity might surprise you if you’re expecting something heavily orchestrated, like the black metal bands discussed at the start. The relevance of stripped back, yet high-fidelity heavy metal is stronger than ever, making Desolation’s Flower a refreshing record for 2023.
8/10
Desolation’s Flower releases October 27th via The Flesner, and can be pre-ordered here. We caught Ragana’s recent London show and captured our experiences here.