Duuude, Tapes! Ortega, Crows
Posted in Duuude, Tapes! on April 22nd, 2014 by JJ Koczan
Seems odd to say it, but Crows isn’t the first 18-minute single that Netherlands-based post-metal four-piece Ortega have released in their time together. The last one was late-2012’s The Serpent Stirs (review here), and as the follow-up to that and reportedly the precursor to a new full-length album, Crows winds up making a lot of sense with its limited tape release through Tartarus Records, a black-ink-on-grey-box unfolding with a handmade feel to match the Groningen group’s intricate heavy/ambient tradeoffs throughout the song’s 18 minutes. The program repeats on both sides of the tape, which has crows and branches printed on it, and for what’s purported to be a demo track, the sound is awfully full and the band is awfully tight, 
leaving me to wonder what they might look to change going into the album — that is, how much more there is to build on from what they have here. It’s almost unfair to use the word “cassingle” for a song that’s en EP unto itself, but technically I suppose that’s what Crows is.
And taken on the level of a single, it’s a strikingly cohesive one, with guitarists Alex Loots and Richard Postma trading between thick waves of riffing and sparse atmospherics, ambient squigglies floating into the sonic space of a mix that, again, is done little justice by being designated as a demo. Bassist Frank de Boer distinguishes himself in the song’s midsection with a surprisingly warm tone, while drummer Sven Jurgens manages to keep the proceedings fluid for the most part without falling into the trap of the Isis drumbeat (you know the one!), which is one of the core challenges at this point of post-metal percussion styles — how to make it not sound like Panopticon. Postma handles 
vocals as well when they arise, his assured growl topping the later payoff of a fervent instrumental build playing out in a rising tide of start-stop chugging; a measured, restrained groove finally letting loose just in time for the growls to reemerge. For those familiar with the style, Ortega‘s take won’t be wholly strange, but Crows remains a solid execution of the progressive aspects of post-metal and even over its extended course doesn’t dull the attention more than it intends to do with hypnotic repetition of parts.
It’s easy to imagine “Crows” paired with another piece of similar length as opposing vinyl sides as Ortega‘s next long-player, but I guess we have some time yet before we get there. Fair enough. Maybe by then I’ll have it figured out what exactly makes Crows a demo.
