One thing's for sure - Dozelimit really love their delay pedals. There's hardly a moment on their debut album Constructions Of The Highest Architecture where the Russian duo aren't bathing their haunting guitar lines and rumbling amp drones in delay, making this exercise in dark metallic dronecraft super spacey and dreamy. These guys also have the distinction of being one of the only (maybe the first?) Siberian bands that I've ever carried at Crucial Blast. Anyways, this disc features seven untitled tracks from Dozelimit, all slow, down-tuned guitar based soundscapes that combine crushing doomdirge heaviness, endless stretches of shimmering feedback, and buzzing industrial machine drones that often resembles a doomier Troum, or even the instrumental sludge/drone project Fulci that yours truly has been involved with. The opener layers gentle delay-flecked guitar strum over descending sheets of metallic drone and shimmer, the dark, cinematic guitar figures that slowly emerge from the gloom have an almost jazzy feel, the softer ambience merging with super-heavy ambient doomdrone and dark rumbling synths. The following track has more floating fragile guitar figures combining with melodious high-end drones to form echoing fragmented melodies that ripple through black space, hovering high above swirling murky seas of tape hiss and granular noise. The guitars move from slowly bending notes that form into a sort of deep-space blues into sheets of blackened tremelo and minimal ambient hum, and heavy rattling vibrations appear, as if from some leviathan engine grinding in the void. Most of the album is this mingling of gorgeous guitar ambience and heavy industrial throb, circular melodies and luminescent ambience stretched across space, the guitar notes decaying into darkness, mutated into strange swarms of high end chitter and nocturnal hum, swirling into clusters of percussive sounds into a kind of psychedelic blackened space music, like Cisfintum or Mauriozio Bianchi mixed with the guitarscapes of MGR. But the last two tracks drop the hammer, unleashing a black wave of crushing ambient doom riffage a la early Sunn, slow drifting slabs of monstrous down tuned heaviness and blackened tremolo riffing slathered in droning electronics, weird glitchy noise, and sweeps of oscillator tones that could have been lifted from a Delia Derbyshire score, sculpted into bleak stuttering doomscapes.

Presented in black-on-black packaging with raised-print artwork.