Review: Scrying the Angel Gate by Tar Pit

Reading the name Tar Pit rings sludge and noise to me, but surprisingly, that is not what I got in Scrying the Angel Gate.

With a somber heavy opening and some spoken word, Dagon, Dark Lord Dwelling Beneath (Parts I-III), opens this album. Slow heavy riffs and some organ buried in the background are how this track rolls. A good use of dynamics between steady riff and quiet runs before bringing on a steady chug and vocals. A slight fade out and bass line starts up in the last third of the song to bring back the riff and some spoken word chanting or invocations. The song ends with a sound sample.

Coven Vespers opens with a rolling bass line and another sound sample before hitting the riff, which is very reminiscent of Sonic Youth’s Purr. That doesn’t last long before the song blasts away. Pace increases on this track.

Jubilee starts with a slower bass line as the guitar kind of sirens in, providing almost a bluesy intro without being too bluesy. Thank goodness. No apologies, I’m done with bluesy shit. It’s more of a subdued foreboding sound with a bit of a trodden feel. Like it’s taking the time to pound in that nail with a hammer and not missing. That organ comes back on this one.

With an acoustic entry, Blue Light Cemetery makes a slow and subdued appearance. Slowly, it creeps into a mildly chugging riff and impressive vocals.

Blessed King of Longing opens with what sounds like Japanese spoken word or sound sample. It then proceeds into a slow churning riff with a more somber vocal melody. It slowly transforms into more intense vocals and then shifts tempo up near the end and adds in some drum fills to finish out.

The title track, Scrying the Angel Gate, closes the album. Maybe I need to re-listen, but this track makes good use of duel guitars at the onset.

Give Tar Pit a listen for yourself, as I know my shitty words don’t do it justice.