The debut full-time album from Nightly Gale brings us an hour of desperate music. Crushing heavy guitars, rolling tempos, compositions during about 14 minutes, a dose of gloom one can hardly stand. On the previous promo tape called „Erotica” from 1999 one could sense the direction, the band would follow – first of all, Waldemar Sagan’s shrieking screams, awaken a connexion with the most wild music genre, but it’s just a memory. On „...and Jesus wept” there is no place for a raging, murderous run, for „slaughter”, a bloody orgy in a context of the blackest – this album seems like a lonely walk through a „garden of pain”. This formulation appears in „Cutting God’s throat”, pervaded with desperation, talking about a (self-)imprisonment in an own inner world, where one can slay God, as this doesn’t matter at all and none would understand. In a moment everything becomes quiet, we hear cracks as of an old record and we have to wriggle in a „sweet suffering”, with the underlying sound of a saxophone (!). This instrument has been used in two another tracks and if you know the works of Pan-Thy-Monium, then you possibly know what kind of effect it can have with a heavy-metal background.

Nightly Gale’s singers couldn’t be more different from each other: while the one cries his soul off his throat, the other one sings with a little monotonous, but clean, and, yes: sad voice. One could think, that wouldn’t fit into the doom-metal offered by the band, but it does. From the very beginnings Sławek’s voice added more charm to their melancholic feast of sound.

I cannot remark enough, this record is overflown with sadness, only from time to time there is a little light – the end part of the first track leads the listener into another world, „Where you die every day / I open the gates of endless dreams ” – this escape into a domain of (unfulfilled) dreams is maybe the only positive aspect in the lyrical content of this record.
In the second track we meet the first time with the mentioned saxophone, in general this one is constructed very strangely, an „ambient” part somewhere in the middle, then an excellent saxophone solo, powerful chorus, and in the end, one of the few moments of speeding-up (that is not that the tempo is raving, it’s to say moderate...).

The middle part, the third (of five) tracks, lyrics are written by Mr. Sagan, has a totally sick atmosphere, I to associate this one with a confession of a schizophrenic, vocals are distorted, voices layered over and over, in a moment you may think: it’s over, but no: a heart beat, some strange samples/sounds and yet then we are released out of this nightmare.

The final track again waits with a saxophone solo, apparently „pleasant” tunes, words that describe some lonely, silent place, a sort of paradise, which we enter downstairs of torment – typical here are, let’s call it “processions” during about 2-3 minutes – barbarously heavy riff, repeated over and over, here it takes place in the last track and in the first one. Even now, near the end the musicians don’t let the listener take breath crushing all with intense heaviness. And when we reached the exit, something calls us to return and listen this album yet again. And each time you will reveal a new path... of pain....

P.S. I don’t know if it’s mentioned to be, at approx 1:15 there is a moment, where the music looses rhythm – the singer repeats two words („to God / and to my / to God / and to my black soul...”). Maybe I have a defective record or is it a mastering error?!? ;-)