Segondè Saleco saw Mohammad's landscape trilogy to a close with abstracted elemental power- sounds were processed so that they did not have a human cause- they emerged vibrating with the inevitability of seismic activity rather than some musical composition. Pèkisyon Funebri is free from this conceit but of course the discoveries made through it have become Mohammad's sound, meaning that we are still hearing tones and textures and processing them through space and duration (which is what gives them this imagined physical quality), while Mohammad also allow themselves parts and passages where we can hear the instrument being played (!). The piano in Az álmok itt érnek véget (rész 3) feels earned, while the opening of Qoxra and voices of Ankourajman remind us that rather than being used simply to pigeonhole, Mohammad's music has been described as both metal and folk to better understand their sounds and concepts ('the elemental')- these moments are heavy metal both quieter and louder than expected, and the cello screech in the latter humanises the group which again tends to (obsessively) sound anything but. On that last one the music was neither dark nor light but indifferent as the landscape it was evoking, but Pèkisyon Funebri veers into both doom and sentiment- its grandiose abstractions become metaphysical (rather than superphysical) and its human moments jolt us into the present- this is our funerary passage
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