Seb has already referred to URSKUMUG’s Tribal Black Metal in his review for Am Nodr, the actual follow-up to Passover. The term “tribal” can most likely act for the lyrical concept; musically they rather follow the unspectacular path of melodic Black Metal. The use of keyboards particularly reminds frequently of Dimmu Borgir’s Enthrone Darkness Triumphant. But the comparison to the reference work of the Norwegians is flawed definitely. Admittedly URSKUMUG manage it occasionally to convince with some exciting ideas, but on the whole Passover compositionally passes off as a rip-off of the Norwegians’ third album, which becomes clear especially in the keyboard work.
Passover is the recent publication of the debut Pareja, which is planned for the Russian market. Technically quite competently performed Black Metal is presented once in mid-tempo, once furiously fast, whereby the three rather redundant instrumentals Her Majesty Silence and Pareja/Passover are included. On balance, this means seven songs, which don’t even reach the 30 minutes mark. A bit meager for what it’s worth.
The “Tribal” Black Metal of the Latvians is joined by atmospheric Death Metal riffs in spots (The Third), which strangely enough remind me a bit of the Thresholds period of Nocturnus in spots. The beautiful outro of The Heathen’s Cave, which comes up with a two-part guitar riff, is one of the few rays of hope on Passover, These are the moments, which let URSKUMUG stand out of the mass of Dimmu-clones.
Generally the Latvians present themselves unfortunately too close to their Scandinavian role models. The technical requirements are definitely there to call attention to themselves in the future. But that’s not yet the case, that’s why Passover to me isn’t more worth than six points.