Who else but My Dying Bride would be contrary enough to follow up a stunning, 3 disc classical interpretation of their back catalogue with a twenty-seven minute long, single-song EP that contains some of their heaviest material in years? Released on CD or as a limited edition 12” red vinyl, we are reviewing the vinyl version which splits the song into two movements, one per side, and which allows greater space with which to appreciate the grim, Hound of The Baskervilles-esque artwork.
The seeds of inspiration for ‘The Barghest O’ Whitby’ lies not in the writings of Arthur Conan Doyle, although Aaron’s stark writing style does share some elements in common with that writer, but the legend of the Barghest which predates (and potentially inspired) Conan Doyle’s grim novel. The term Barghest is said to denote a monstrous black dog roaming the moors of Yorkshire killing off unwary visitors and unfortunate victims. Although regional varients exist, it is this rich tapestry which provides the inspiration for what is arguably My Dying Bride’s most epic and convincing work yet, a song where literature and music collide in a way rarely seen outside of traditional folk songs. Aaron stands alone as the mournful, titular creature of the tale (an unusual twist) whilst the music comprises some of the band’s most forbidding work, ranging from windswept and chilling violin to the truly monstrous riffs which dominate the second half of the song. With the band clearly in love with the very atmosphere that makes doom such a compelling musical genre, they have crafted what may well be one of its finest examples, spread over two sides of blood red vinyl and beautifully produced so that the band’s raw power seeps through every aching lyric and surging riff.
Placing the vinyl upon the deck, part one of the track (at 15.38) sets the scene with roaring wind and rain before giving way to Shaun MacGowan’s haunting violin which is perfectly offset by the rumbling guitars of Andrew and Hamish. Aaron has never sounded so bleak and bereft of pity as he does here, his words a fitting, despairing bark whilst the tempo remains deathly slow. At this stage it is the violin that undeniably dominates proceedings – its haunting melody bringing out the stark despair of the track even whilst all about it is crushingly heavy. When, some minutes in, the pace does pick up it is with an almighty double kick assault that feels like thunder, as if the band have taken to imitating the elements with their instruments. It is unremittingly bleak, grim and icy and it is hard to imagine when MDB have ever sounded better or more authoritative.
As the track develops it becomes clear that what MDB took away from their symphonic project, above all else, was how to interweave ideas and moods into epic length tracks – something that they had always done well but which here they have perfected to a fine art. At twenty-seven minutes the track is never repetitive or dull – the music moves through sections and passages, always developing and changing and providing the backing to a tale that chills the blood. It is a work of atmosphere and despair and as with ‘evinta’ the band have carefully woven each section together to create the ultimate blackened symphony.
The second side (a relatively short 11.28) is where things become truly chilling. The opening riffs kaleidoscope out from the howling gale, thunder and rain sweeping across the surface of the track before everything coalesces into the ghastly closing riffs with the Barghest evolving from mournful wail to enraged raw of vengeance as it closes upon its victim. Listened to with the lights off it’s quite terrifying whilst the soundtrack remains as engrossing as anything the band have ever put their name to.
Over the years My Dying Bride have never yet produced a bad album, their name a stamp of quality in a small but populous scene; that said there are elements over the years that have stood out above the rest – the amazing ‘turn loose the swans’, the beautiful, damaged ‘angel and the dark river’ but in truth any given fan will offer up a different favourite album. This, however, is in a different league. My Dying Bride have created the most epic, monstrous track imaginable and given it horrific life. Aaron’s unique ability to absorb himself thoroughly in character works here to chilling effect whilst the music carries the same sense of ebb, flow and crescendo as Carl Orff’s ‘Carmina Burana’, the closing stages stupefyingly heavy and deeply satisfying. My Dying Bride may well top this, but it is fair to say that this newly invigorated band are on the form of their lives. Utterly, utterly brilliant.
