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Halfway through the album, Guerra’s voice appears, too, in a sequence the band has titled “The Words of the Dead.” These screams were recorded for, and cut from, Four Phantoms, and they form the living emotional core of Mirror Reaper. Here is where the tension of the album’s first side climaxes, where life and death seem to pierce each other. Guerra is dead, and he is singing with his former band; they are mourning him and they are with him at the same time. Then the cresting waves of sound fall away, and on Mirror Reaper’s second side, Shreibman and Desmond wade through acres of empty space. Their instruments echo into beats of silence. The loss of their friend bores holes in the music itself.
Though the instrumental performances on this record are as sharp as the band has yet conjured, the vocal performances are for me the true highlight of the record. When we arrived after what seemed an interminable amount of time in silence in the car, my father, whom I d never seen cry in my life, embraced his own father s lifeless body and wept like I ve never seen a person weep.
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Ghostly longing: Tonality as grieving in Bell Witch’s Mirror Reaper
Mirror Reaper , by the funeral doom metal band Bell Witch, is an immense 83-minute composition in which tonal organization plays an essential role in enhancing and creating meaning. Little analytical attention has been paid to doom metal; armed with a flexible conception of theories of tonal harmony and my full transcription of the album, I show that slow, repetitive music and rich engagement with musical details are not mutually exclusive. I present an analysis in which the tonal drama centres around slowly shifting bass support for a persistent melody F natural. At first, this F appears as a dissonant ninth over an E♭, then as a hollow fifth above a B♭ and finally as a consonant major third above D♭. I understand this progression as a sonic analogue for the grieving process that, according to interviews with the band, is the album’s main focus.
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