C.O.T.A. - Ta'Wil

Dear friends of HFK and featured on the new POST-ASIATIC: LOST WAR DREAM MUSIC 2CD.We are proud to carry their Ta'Wil.  C.O.T.A. blend tribal percussion, ambient drones and repetitive rhythms with manic undertones to create an extremely dark mood with mystical atmospheres.
 

“Ta’Wil” contains 6 tracks that are nothing short of a 100% masterpiece. For this album, the project created an extremely dark mood with mystical atmospheres, and of course, tribal/ritual rhythms. “Ta'Wil” is an absolutely essential release if you're fond of dark soundscapes!
 

DEAD ANGEL: ISSUE 26 REVIEW
Apparently they are naturalists, judging from the look of the long liner notes in the disc booklet, although since the words are brown on brown and of a microscopic typeface, i'll never really know for sure. Regardless of their politics, their sound is pretty interesting... slow, loping tribal drum rhythms and spooky, disembodied synth leavened with trancelike guitar passages (sometimes repetitive figures, sometimes just hum, other times mutant sounds buried in the background), and only sporadic vox. They're big on the slow-motion drone and the shortest song is nearly seven minutes... these are good things....The first track, "Blood and Soil," opens with cycling guitar hum, running water, chirping birds, voices reading from some exotic text, and eventually coalesces into a trancelike dirge guitar supplanted by thudding, distorted drums and an eerie vocal chorus. As the song builds, thick keyboard drones add another layer to the growing wall of sound. Swirling clouds of guitar hum also infiltrate "Ismaeli," along with distorted drums more cryptic chanting vocals and a harsh wall of noise that dies away midway through the song, leaving behind just a tinkering drum track and various odd, watery sounds. Toward the end, the singer intones a passage adapted from the prose of Omar Khayyam; i have no idea who he is, but it sounds awfully exotic....The best track on the disc is probably the fifth one, also the longest at 12:24 -- "Song for the Fifth World." A forbidding beat, dark droning synths, and counterpoint polyrhythms set the engine in motion, often sounding like a mildly heavier version of Voice of Eye. The hypnotic beat is augmented by regular hissing much like blasts from a furnace, or perhaps an approaching dust storm. The sound gradually builds in intensity, growing louder and more complicated, until it finally dissolves in a spiral of hissing and droning. Hard to follow, but the closing "Spiritual Warfare" manages to pull it off with gradiose orchestral bombast (not to mention the occasional burst of noisy fury). The overall feel is somewhere between a less-crazed Crash Worship and a more orchestrated answer to Voice of Eye... not a bad combination. The name, incidentally, stands for Children of the Apocalypse, and apocalyptic is as good a label as any for their dense, brooding sound.