#unreqvited — Public Fediverse posts

Nullingroots – Fourth Dimensional Dreamscape Review

Here at AMG Industries, we strive to unearth as many underground gems as possible. Sometimes, though, we may…
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Here at AMG Industries, we strive to unearth as many underground gems as possible. Sometimes, though, we may get a bit carried away, as Master of Muppets once did in a TYMHM article wherein he crammed as many shoutouts to other groups as possible. As this solitary line1 has been the only coverage Nullingroots has received here so far, allow me to introduce them more formally. Based in Phoenix, Arizona, Nullingroots was originally formed by Cameron Boesch as an instrumental post-metal solo project. Various shades of black metal were added over time alongside additional band members. The current iteration of Nullingroots includes Alex Haddad, the founder of rising progressive death metal act Dessiderium.2 Now, Fourth Dimensional Dreamscape signals Nullingroots’ re-emergence after a six-year hiatus.

I don’t know the extent to which Alex Haddad participated in writing Fourth Dimensional Dreamscape, but it certainly sounds as if he had a hand in it. The breezy major key melodies that defined last year’s Dessiderium record can be easily discerned in the guitar, bass, and piano, albeit filtered through a post-black lens instead of progressive death. In this way, I prefer Fourth Dimensional Dreamscape to its 2019 predecessor, Malady’s Black Maw, which was much more uniformly blackened with fewer instances to breathe. The most compelling moments now come from the piano and various other keyboard effects, which add a crystalline luster much like the otherworldly stylings of Unreqvited.

Fourth Dimensional Dreamscape by Nullingroots

Nullingroots packed a lot into the 55 minutes of Fourth Dimensional Dreamscape. The guitar chords often straddle the line between consonance and dissonance (“Fourth Dimensional Dreamscape,” “Remember My Name”). Drum tempo shifts are plentiful to the point of feeling erratic rather than progressive. The most intriguing track, “In Reverie’s Embrace,” combines a mystical keyboard tune with something almost resembling a rap beat played on the virtual drum kit. The vocals are the only area that can sometimes feel monotonous. The fierce rasps fit better within faster-paced songs like “Remember My Name,” but don’t mesh as well with the gentler “Memoir of a Frail Past,” though there are brief instances of smoother, gentler growls (“Life Thief”). The biggest missed opportunity is the complete absence of clean vocals, as Haddad’s singing would likely have complemented much of the instrumentation well if given the opportunity.

Despite its busyness, Fourth Dimensional Dreamscape doesn’t accomplish as much as it could. More often than not, it presents a jumble of independent moments as opposed to a fluid whole. Some of these moments are, admittedly, impressive, such as the guitar shredding partway through “The Optimist.” “Memoir of a Frail Past” and “In Reverie’s Embrace” fare better thanks to recurring keyboard melodies, but the rest of Fourth Dimensional Dreamscape is largely disjointed and at times nondescript. With a minimum track length of 7 minutes, the listener needs more reinforcement to stay grounded, especially in a setting where song intros and conclusions are regarded as optional. Ultimately, I don’t feel guided so much as roughly dragged through the majority of these long-form excursions.

Fourth Dimensional Dreamscape is a promising new sonic direction for Nullingroots after an extended absence, though it’s not without growing pains. I am convinced by the band members’ instrumental prowess, but less so by the songcraft. The first half goes down more smoothly than the second half, but the entire package isn’t sufficiently focused or cohesive. While it’s tough to wholeheartedly recommend Fourth Dimensional Dreamscape, with some tweaks and tightening, there’s a ton of potential for something really good to come. I’m (Nulling)rooting for them.

Rating: 2.5/5.0
DR: 8 | Format Reviewed: PCM
Label: Self-Release
Websites: nullingroots.bandcamp.com | facebook.com/nullingroots
Releases Worldwide: February 11th, 2026

Here at AMG Industries, we strive to unearth as many underground gems as possible. Sometimes, though, we may get a bit carried away, as Master of Muppets once did in a TYMHM article wherein he crammed as many shoutouts to other groups as possible. As this solitary line1 has been the only coverage Nullingroots has received here so far, allow me to introduce them more formally. Based in Phoenix, Arizona, Nullingroots was originally formed by Cameron Boesch as an instrumental post-metal solo project. Various shades of black metal were added over time alongside additional band members. The current iteration of Nullingroots includes Alex Haddad, the founder of rising progressive death metal act Dessiderium.2 Now, Fourth Dimensional Dreamscape signals Nullingroots’ re-emergence after a six-year hiatus.

I don’t know the extent to which Alex Haddad participated in writing Fourth Dimensional Dreamscape, but it certainly sounds as if he had a hand in it. The breezy major key melodies that defined last year’s Dessiderium record can be easily discerned in the guitar, bass, and piano, albeit filtered through a post-black lens instead of progressive death. In this way, I prefer Fourth Dimensional Dreamscape to its 2019 predecessor, Malady’s Black Maw, which was much more uniformly blackened with fewer instances to breathe. The most compelling moments now come from the piano and various other keyboard effects, which add a crystalline luster much like the otherworldly stylings of Unreqvited.

Fourth Dimensional Dreamscape by Nullingroots

Nullingroots packed a lot into the 55 minutes of Fourth Dimensional Dreamscape. The guitar chords often straddle the line between consonance and dissonance (“Fourth Dimensional Dreamscape,” “Remember My Name”). Drum tempo shifts are plentiful to the point of feeling erratic rather than progressive. The most intriguing track, “In Reverie’s Embrace,” combines a mystical keyboard tune with something almost resembling a rap beat played on the virtual drum kit. The vocals are the only area that can sometimes feel monotonous. The fierce rasps fit better within faster-paced songs like “Remember My Name,” but don’t mesh as well with the gentler “Memoir of a Frail Past,” though there are brief instances of smoother, gentler growls (“Life Thief”). The biggest missed opportunity is the complete absence of clean vocals, as Haddad’s singing would likely have complemented much of the instrumentation well if given the opportunity.

Despite its busyness, Fourth Dimensional Dreamscape doesn’t accomplish as much as it could. More often than not, it presents a jumble of independent moments as opposed to a fluid whole. Some of these moments are, admittedly, impressive, such as the guitar shredding partway through “The Optimist.” “Memoir of a Frail Past” and “In Reverie’s Embrace” fare better thanks to recurring keyboard melodies, but the rest of Fourth Dimensional Dreamscape is largely disjointed and at times nondescript. With a minimum track length of 7 minutes, the listener needs more reinforcement to stay grounded, especially in a setting where song intros and conclusions are regarded as optional. Ultimately, I don’t feel guided so much as roughly dragged through the majority of these long-form excursions.

Fourth Dimensional Dreamscape is a promising new sonic direction for Nullingroots after an extended absence, though it’s not without growing pains. I am convinced by the band members’ instrumental prowess, but less so by the songcraft. The first half goes down more smoothly than the second half, but the entire package isn’t sufficiently focused or cohesive. While it’s tough to wholeheartedly recommend Fourth Dimensional Dreamscape, with some tweaks and tightening, there’s a ton of potential for something really good to come. I’m (Nulling)rooting for them.

Rating: 2.5/5.0
DR: 8 | Format Reviewed: PCM
Label: Self-Release
Websites: nullingroots.bandcamp.com | facebook.com/nullingroots
Releases Worldwide: February 11th, 2026

Here at AMG Industries, we strive to unearth as many underground gems as possible. Sometimes, though, we may get a bit carried away, as Master of Muppets once did in a TYMHM article wherein he crammed as many shoutouts to other groups as possible. As this solitary line1 has been the only coverage Nullingroots has received here so far, allow me to introduce them more formally. Based in Phoenix, Arizona, Nullingroots was originally formed by Cameron Boesch as an instrumental post-metal solo project. Various shades of black metal were added over time alongside additional band members. The current iteration of Nullingroots includes Alex Haddad, the founder of rising progressive death metal act Dessiderium.2 Now, Fourth Dimensional Dreamscape signals Nullingroots’ re-emergence after a six-year hiatus.

I don’t know the extent to which Alex Haddad participated in writing Fourth Dimensional Dreamscape, but it certainly sounds as if he had a hand in it. The breezy major key melodies that defined last year’s Dessiderium record can be easily discerned in the guitar, bass, and piano, albeit filtered through a post-black lens instead of progressive death. In this way, I prefer Fourth Dimensional Dreamscape to its 2019 predecessor, Malady’s Black Maw, which was much more uniformly blackened with fewer instances to breathe. The most compelling moments now come from the piano and various other keyboard effects, which add a crystalline luster much like the otherworldly stylings of Unreqvited.

Fourth Dimensional Dreamscape by Nullingroots

Nullingroots packed a lot into the 55 minutes of Fourth Dimensional Dreamscape. The guitar chords often straddle the line between consonance and dissonance (“Fourth Dimensional Dreamscape,” “Remember My Name”). Drum tempo shifts are plentiful to the point of feeling erratic rather than progressive. The most intriguing track, “In Reverie’s Embrace,” combines a mystical keyboard tune with something almost resembling a rap beat played on the virtual drum kit. The vocals are the only area that can sometimes feel monotonous. The fierce rasps fit better within faster-paced songs like “Remember My Name,” but don’t mesh as well with the gentler “Memoir of a Frail Past,” though there are brief instances of smoother, gentler growls (“Life Thief”). The biggest missed opportunity is the complete absence of clean vocals, as Haddad’s singing would likely have complemented much of the instrumentation well if given the opportunity.

Despite its busyness, Fourth Dimensional Dreamscape doesn’t accomplish as much as it could. More often than not, it presents a jumble of independent moments as opposed to a fluid whole. Some of these moments are, admittedly, impressive, such as the guitar shredding partway through “The Optimist.” “Memoir of a Frail Past” and “In Reverie’s Embrace” fare better thanks to recurring keyboard melodies, but the rest of Fourth Dimensional Dreamscape is largely disjointed and at times nondescript. With a minimum track length of 7 minutes, the listener needs more reinforcement to stay grounded, especially in a setting where song intros and conclusions are regarded as optional. Ultimately, I don’t feel guided so much as roughly dragged through the majority of these long-form excursions.

Fourth Dimensional Dreamscape is a promising new sonic direction for Nullingroots after an extended absence, though it’s not without growing pains. I am convinced by the band members’ instrumental prowess, but less so by the songcraft. The first half goes down more smoothly than the second half, but the entire package isn’t sufficiently focused or cohesive. While it’s tough to wholeheartedly recommend Fourth Dimensional Dreamscape, with some tweaks and tightening, there’s a ton of potential for something really good to come. I’m (Nulling)rooting for them.

Rating: 2.5/5.0
DR: 8 | Format Reviewed: PCM
Label: Self-Release
Websites: nullingroots.bandcamp.com | facebook.com/nullingroots
Releases Worldwide: February 11th, 2026

Here at AMG Industries, we strive to unearth as many underground gems as possible. Sometimes, though, we may get a bit carried away, as Master of Muppets once did in a TYMHM article wherein he crammed as many shoutouts to other groups as possible. As this solitary line1 has been the only coverage Nullingroots has received here so far, allow me to introduce them more formally. Based in Phoenix, Arizona, Nullingroots was originally formed by Cameron Boesch as an instrumental post-metal solo project. Various shades of black metal were added over time alongside additional band members. The current iteration of Nullingroots includes Alex Haddad, the founder of rising progressive death metal act Dessiderium.2 Now, Fourth Dimensional Dreamscape signals Nullingroots’ re-emergence after a six-year hiatus.

I don’t know the extent to which Alex Haddad participated in writing Fourth Dimensional Dreamscape, but it certainly sounds as if he had a hand in it. The breezy major key melodies that defined last year’s Dessiderium record can be easily discerned in the guitar, bass, and piano, albeit filtered through a post-black lens instead of progressive death. In this way, I prefer Fourth Dimensional Dreamscape to its 2019 predecessor, Malady’s Black Maw, which was much more uniformly blackened with fewer instances to breathe. The most compelling moments now come from the piano and various other keyboard effects, which add a crystalline luster much like the otherworldly stylings of Unreqvited.

Fourth Dimensional Dreamscape by Nullingroots

Nullingroots packed a lot into the 55 minutes of Fourth Dimensional Dreamscape. The guitar chords often straddle the line between consonance and dissonance (“Fourth Dimensional Dreamscape,” “Remember My Name”). Drum tempo shifts are plentiful to the point of feeling erratic rather than progressive. The most intriguing track, “In Reverie’s Embrace,” combines a mystical keyboard tune with something almost resembling a rap beat played on the virtual drum kit. The vocals are the only area that can sometimes feel monotonous. The fierce rasps fit better within faster-paced songs like “Remember My Name,” but don’t mesh as well with the gentler “Memoir of a Frail Past,” though there are brief instances of smoother, gentler growls (“Life Thief”). The biggest missed opportunity is the complete absence of clean vocals, as Haddad’s singing would likely have complemented much of the instrumentation well if given the opportunity.

Despite its busyness, Fourth Dimensional Dreamscape doesn’t accomplish as much as it could. More often than not, it presents a jumble of independent moments as opposed to a fluid whole. Some of these moments are, admittedly, impressive, such as the guitar shredding partway through “The Optimist.” “Memoir of a Frail Past” and “In Reverie’s Embrace” fare better thanks to recurring keyboard melodies, but the rest of Fourth Dimensional Dreamscape is largely disjointed and at times nondescript. With a minimum track length of 7 minutes, the listener needs more reinforcement to stay grounded, especially in a setting where song intros and conclusions are regarded as optional. Ultimately, I don’t feel guided so much as roughly dragged through the majority of these long-form excursions.

Fourth Dimensional Dreamscape is a promising new sonic direction for Nullingroots after an extended absence, though it’s not without growing pains. I am convinced by the band members’ instrumental prowess, but less so by the songcraft. The first half goes down more smoothly than the second half, but the entire package isn’t sufficiently focused or cohesive. While it’s tough to wholeheartedly recommend Fourth Dimensional Dreamscape, with some tweaks and tightening, there’s a ton of potential for something really good to come. I’m (Nulling)rooting for them.

Rating: 2.5/5.0
DR: 8 | Format Reviewed: PCM
Label: Self-Release
Websites: nullingroots.bandcamp.com | facebook.com/nullingroots
Releases Worldwide: February 11th, 2026

Here at AMG Industries, we strive to unearth as many underground gems as possible. Sometimes, though, we may get a bit carried away, as Master of Muppets once did in a TYMHM article wherein he crammed as many shoutouts to other groups as possible. As this solitary line1 has been the only coverage Nullingroots has received here so far, allow me to introduce them more formally. Based in Phoenix, Arizona, Nullingroots was originally formed by Cameron Boesch as an instrumental post-metal solo project. Various shades of black metal were added over time alongside additional band members. The current iteration of Nullingroots includes Alex Haddad, the founder of rising progressive death metal act Dessiderium.2 Now, Fourth Dimensional Dreamscape signals Nullingroots’ re-emergence after a six-year hiatus.

I don’t know the extent to which Alex Haddad participated in writing Fourth Dimensional Dreamscape, but it certainly sounds as if he had a hand in it. The breezy major key melodies that defined last year’s Dessiderium record can be easily discerned in the guitar, bass, and piano, albeit filtered through a post-black lens instead of progressive death. In this way, I prefer Fourth Dimensional Dreamscape to its 2019 predecessor, Malady’s Black Maw, which was much more uniformly blackened with fewer instances to breathe. The most compelling moments now come from the piano and various other keyboard effects, which add a crystalline luster much like the otherworldly stylings of Unreqvited.

Fourth Dimensional Dreamscape by Nullingroots

Nullingroots packed a lot into the 55 minutes of Fourth Dimensional Dreamscape. The guitar chords often straddle the line between consonance and dissonance (“Fourth Dimensional Dreamscape,” “Remember My Name”). Drum tempo shifts are plentiful to the point of feeling erratic rather than progressive. The most intriguing track, “In Reverie’s Embrace,” combines a mystical keyboard tune with something almost resembling a rap beat played on the virtual drum kit. The vocals are the only area that can sometimes feel monotonous. The fierce rasps fit better within faster-paced songs like “Remember My Name,” but don’t mesh as well with the gentler “Memoir of a Frail Past,” though there are brief instances of smoother, gentler growls (“Life Thief”). The biggest missed opportunity is the complete absence of clean vocals, as Haddad’s singing would likely have complemented much of the instrumentation well if given the opportunity.

Despite its busyness, Fourth Dimensional Dreamscape doesn’t accomplish as much as it could. More often than not, it presents a jumble of independent moments as opposed to a fluid whole. Some of these moments are, admittedly, impressive, such as the guitar shredding partway through “The Optimist.” “Memoir of a Frail Past” and “In Reverie’s Embrace” fare better thanks to recurring keyboard melodies, but the rest of Fourth Dimensional Dreamscape is largely disjointed and at times nondescript. With a minimum track length of 7 minutes, the listener needs more reinforcement to stay grounded, especially in a setting where song intros and conclusions are regarded as optional. Ultimately, I don’t feel guided so much as roughly dragged through the majority of these long-form excursions.

Fourth Dimensional Dreamscape is a promising new sonic direction for Nullingroots after an extended absence, though it’s not without growing pains. I am convinced by the band members’ instrumental prowess, but less so by the songcraft. The first half goes down more smoothly than the second half, but the entire package isn’t sufficiently focused or cohesive. While it’s tough to wholeheartedly recommend Fourth Dimensional Dreamscape, with some tweaks and tightening, there’s a ton of potential for something really good to come. I’m (Nulling)rooting for them.

Rating: 2.5/5.0
DR: 8 | Format Reviewed: PCM
Label: Self-Release
Websites: nullingroots.bandcamp.com | facebook.com/nullingroots
Releases Worldwide: February 11th, 2026

UNREQVITED – Beautiful Ghosts (2021, Canada)

Our next spotlight is on number 187 on The List, submitted by HauntedOwlbear.

While this one-person project from Billy Melsness aka 鬼 started out as atmospheric/depressive black metal, by the time we get to this, the 6th UNREQVITED album, we’re pretty much firmly in post-rock territory, albeit blackgaze-flavoured. Hints of the project’s black metal beginnings are essentially only heard in Melsness’ wordless, incorporeal screams interspersed throughout the otherwise instrumental – and, dare I say, uplifting (or, vplifting?) – album. The metal (or, at least, post-metal) sounds return in full force in the following album, A Pathway to the Moon (2025), but this is a really beautiful stop in the UNREQVITED discography. And, seeing as the Chinese character Melsness has chosen as his stage name can mean “ghost”, it was perhaps inevitable that we would get an album with that word in the title.

• Bandcamp: UNREQVITED – Beautiful Ghosts
• Discogs: UNREQVITED – Beautiful Ghosts

#blackgaze #Canada #instrumental #metal #postmetal #postrock #Unreqvited

Dissocia – To Lift the Veil Review

By Carcharodon

Dissocia is the brainchild of multi-instrumentalist Daniel R Flys (of Persefone and Eternal Storm) and drummer Gabriel Valcázar (Wormed and Cancer). On their debut, To Lift the Veil, the duo set themselves a challenge: blend extreme metal with synthwave and dreamwave elements to create a catchy, yet unpredictable, blend of genres that come together into a progressive package. Were these two complete unknowns presenting that vision, one would rightly expect a horrifically unlistenable car crash. However, given Flys and Valcázar’s pedigree with their other outfits, I had somewhat higher hopes (albeit with expectations carefully managed) for Dissocia. I’m not entirely sure what dreamwave is, and synthwave is not my go-to, although it has its place1 but, mixed with extreme metal, I envisaged some sort of off-the-wall Devin Townsend craziness happening.

Straight out of the gate, the dancing arpeggio-like guitar line and swelling synths that open “Existentialist” make clear that To Lift the Veil is going to be a wild ride. And so it proves. Across a chaotic 41 minutes and change, Dissocia lurch between progressive melodeath, something that approaches deathcore in a few places (“He Who Dwells”), symphonic synth movements, dreamy Unreqvited-esque sequences and more, the whole often set to weirdly discordant, pulsing rhythms that border on industrial groove. All in all, the album’s structures have the same levels of predictability as the movements of a severely inebriated person crossing an ice rink. This need not necessarily be viewed as a bad thing though. Flys is both a talented guitarist and a versatile vocalist, his harsh vox often recalling Gojira’s Joe Duplantier (“Existentialist”), while his surprisingly delicate cleans, which occasionally wander into Caligula’s Horse territory (“Evasion”), offer a much-needed extra dimension. Similarly, Valcázar’s work on drums is stellar and the sheer unpredictability of this record is part of its charm.

The challenge for Dissocia is to somehow tie the numerous threads of To Lift the Veil into a cohesive tapestry, rather than a ball of yarn. At its strongest, they manage this well. There’s a rabid groove to “Samsara” that it’s almost impossible not to enjoy, while the slow build synth opening to “Zenosyne” gradually unfolds itself, the tension building, before the Flys’ guitar lets loose progressive death riffs and Valcázar unleashes overlapping broadsides behind the kit. This flows well into “The Lucifer Effect,” which similarly shifts between soaring moments of chaos and more reflective passages. While the turn-on-a-dime nature of the craziness does in some ways recall Devin Townsend, it’s not until the heavily distorted screams at the midway point of closer “Out of Slumber” that Hevy Devy really shows through in the vocals.

Not everything on To Lift the Veil works though and, at times, it feels like Dissocia are losing their grasp on the myriad elements of the record. “He Who Dwells” is the most obvious example of this, as the progressive extreme elements, which often mirror opener “Existentialist,” stray into deathcore territory, particularly in Valcázar’s drumming. This simply doesn’t gel with the rest of To Lift the Veil. Equally, the drifting moods of “Evasion” seem rather aimless at times, while Flys’ vocals rather get away from him on closer “Out of Slumber,” which by its end feels like someone desperately trying to claw themselves out of slumber and into wakefulness. The production, also handled by Flys, doesn’t always help, with the drums sometimes seeming to disappear down a hole (middle of “He Who Dwells”) before roaring back to the front of the stage, and the whole thing feeling loud and slightly flat, despite the DR6.

You have to admire the vision and ambition on show on To Lift the Veil, which in other hands would likely have been a hot mess. Far from easing themselves into things on their debut, Dissocia have thrown everything at this record and some of it’s really good (“Samsara” and “Zenosyne”). The stunning artwork by Rein Van Oyen (Haken) gives a sense of the surreal, expansive journey you can expect, but perhaps not the chaotic nature of the ride. I hope Dissocia have a second album in them because, with just a little more refinement and focus to iron out some of the inconsistencies, as well as improve the production a little, there is a helluva lot of very interesting potential here.

Rating: 2.5/5.0
DR: 6 | Format Reviewed: 320 kb/s mp3
Label: Willowtip Records
Websites: dissociaofficial.bandcamp.com/album/to-lift-the-veil | facebook.com/dissociaofficial
Releases Worldwide: March 21st, 2025

#25 #2025 #AmericanMetal #CaligulaSHorse #Cancer #Deathcore #DevinTownsend #Dissocia #ElectronicaMetal #EternalStorm #Gojira #Mar25 #Persefone #ProgressiveMetal #Review #Reviews #Spanish #Synthwave #ToLiftTheVeil #Unreqvited #WillowtipRecords #Wormed

Dissocia – To Lift the Veil Review

By Carcharodon

Dissocia is the brainchild of multi-instrumentalist Daniel R Flys (of Persefone and Eternal Storm) and drummer Gabriel Valcázar (Wormed and Cancer). On their debut, To Lift the Veil, the duo set themselves a challenge: blend extreme metal with synthwave and dreamwave elements to create a catchy, yet unpredictable, blend of genres that come together into a progressive package. Were these two complete unknowns presenting that vision, one would rightly expect a horrifically unlistenable car crash. However, given Flys and Valcázar’s pedigree with their other outfits, I had somewhat higher hopes (albeit with expectations carefully managed) for Dissocia. I’m not entirely sure what dreamwave is, and synthwave is not my go-to, although it has its place1 but, mixed with extreme metal, I envisaged some sort of off-the-wall Devin Townsend craziness happening.

Straight out of the gate, the dancing arpeggio-like guitar line and swelling synths that open “Existentialist” make clear that To Lift the Veil is going to be a wild ride. And so it proves. Across a chaotic 41 minutes and change, Dissocia lurch between progressive melodeath, something that approaches deathcore in a few places (“He Who Dwells”), symphonic synth movements, dreamy Unreqvited-esque sequences and more, the whole often set to weirdly discordant, pulsing rhythms that border on industrial groove. All in all, the album’s structures have the same levels of predictability as the movements of a severely inebriated person crossing an ice rink. This need not necessarily be viewed as a bad thing though. Flys is both a talented guitarist and a versatile vocalist, his harsh vox often recalling Gojira’s Joe Duplantier (“Existentialist”), while his surprisingly delicate cleans, which occasionally wander into Caligula’s Horse territory (“Evasion”), offer a much-needed extra dimension. Similarly, Valcázar’s work on drums is stellar and the sheer unpredictability of this record is part of its charm.

The challenge for Dissocia is to somehow tie the numerous threads of To Lift the Veil into a cohesive tapestry, rather than a ball of yarn. At its strongest, they manage this well. There’s a rabid groove to “Samsara” that it’s almost impossible not to enjoy, while the slow build synth opening to “Zenosyne” gradually unfolds itself, the tension building, before the Flys’ guitar lets loose progressive death riffs and Valcázar unleashes overlapping broadsides behind the kit. This flows well into “The Lucifer Effect,” which similarly shifts between soaring moments of chaos and more reflective passages. While the turn-on-a-dime nature of the craziness does in some ways recall Devin Townsend, it’s not until the heavily distorted screams at the midway point of closer “Out of Slumber” that Hevy Devy really shows through in the vocals.

Not everything on To Lift the Veil works though and, at times, it feels like Dissocia are losing their grasp on the myriad elements of the record. “He Who Dwells” is the most obvious example of this, as the progressive extreme elements, which often mirror opener “Existentialist,” stray into deathcore territory, particularly in Valcázar’s drumming. This simply doesn’t gel with the rest of To Lift the Veil. Equally, the drifting moods of “Evasion” seem rather aimless at times, while Flys’ vocals rather get away from him on closer “Out of Slumber,” which by its end feels like someone desperately trying to claw themselves out of slumber and into wakefulness. The production, also handled by Flys, doesn’t always help, with the drums sometimes seeming to disappear down a hole (middle of “He Who Dwells”) before roaring back to the front of the stage, and the whole thing feeling loud and slightly flat, despite the DR6.

You have to admire the vision and ambition on show on To Lift the Veil, which in other hands would likely have been a hot mess. Far from easing themselves into things on their debut, Dissocia have thrown everything at this record and some of it’s really good (“Samsara” and “Zenosyne”). The stunning artwork by Rein Van Oyen (Haken) gives a sense of the surreal, expansive journey you can expect, but perhaps not the chaotic nature of the ride. I hope Dissocia have a second album in them because, with just a little more refinement and focus to iron out some of the inconsistencies, as well as improve the production a little, there is a helluva lot of very interesting potential here.

Rating: 2.5/5.0
DR: 6 | Format Reviewed: 320 kb/s mp3
Label: Willowtip Records
Websites: dissociaofficial.bandcamp.com/album/to-lift-the-veil | facebook.com/dissociaofficial
Releases Worldwide: March 21st, 2025

#25 #2025 #AmericanMetal #CaligulaSHorse #Cancer #Deathcore #DevinTownsend #Dissocia #ElectronicaMetal #EternalStorm #Gojira #Mar25 #Persefone #ProgressiveMetal #Review #Reviews #Spanish #Synthwave #ToLiftTheVeil #Unreqvited #WillowtipRecords #Wormed

Dissocia – To Lift the Veil Review

By Carcharodon

Dissocia is the brainchild of multi-instrumentalist Daniel R Flys (of Persefone and Eternal Storm) and drummer Gabriel Valcázar (Wormed and Cancer). On their debut, To Lift the Veil, the duo set themselves a challenge: blend extreme metal with synthwave and dreamwave elements to create a catchy, yet unpredictable, blend of genres that come together into a progressive package. Were these two complete unknowns presenting that vision, one would rightly expect a horrifically unlistenable car crash. However, given Flys and Valcázar’s pedigree with their other outfits, I had somewhat higher hopes (albeit with expectations carefully managed) for Dissocia. I’m not entirely sure what dreamwave is, and synthwave is not my go-to, although it has its place1 but, mixed with extreme metal, I envisaged some sort of off-the-wall Devin Townsend craziness happening.

Straight out of the gate, the dancing arpeggio-like guitar line and swelling synths that open “Existentialist” make clear that To Lift the Veil is going to be a wild ride. And so it proves. Across a chaotic 41 minutes and change, Dissocia lurch between progressive melodeath, something that approaches deathcore in a few places (“He Who Dwells”), symphonic synth movements, dreamy Unreqvited-esque sequences and more, the whole often set to weirdly discordant, pulsing rhythms that border on industrial groove. All in all, the album’s structures have the same levels of predictability as the movements of a severely inebriated person crossing an ice rink. This need not necessarily be viewed as a bad thing though. Flys is both a talented guitarist and a versatile vocalist, his harsh vox often recalling Gojira’s Joe Duplantier (“Existentialist”), while his surprisingly delicate cleans, which occasionally wander into Caligula’s Horse territory (“Evasion”), offer a much-needed extra dimension. Similarly, Valcázar’s work on drums is stellar and the sheer unpredictability of this record is part of its charm.

The challenge for Dissocia is to somehow tie the numerous threads of To Lift the Veil into a cohesive tapestry, rather than a ball of yarn. At its strongest, they manage this well. There’s a rabid groove to “Samsara” that it’s almost impossible not to enjoy, while the slow build synth opening to “Zenosyne” gradually unfolds itself, the tension building, before the Flys’ guitar lets loose progressive death riffs and Valcázar unleashes overlapping broadsides behind the kit. This flows well into “The Lucifer Effect,” which similarly shifts between soaring moments of chaos and more reflective passages. While the turn-on-a-dime nature of the craziness does in some ways recall Devin Townsend, it’s not until the heavily distorted screams at the midway point of closer “Out of Slumber” that Hevy Devy really shows through in the vocals.

Not everything on To Lift the Veil works though and, at times, it feels like Dissocia are losing their grasp on the myriad elements of the record. “He Who Dwells” is the most obvious example of this, as the progressive extreme elements, which often mirror opener “Existentialist,” stray into deathcore territory, particularly in Valcázar’s drumming. This simply doesn’t gel with the rest of To Lift the Veil. Equally, the drifting moods of “Evasion” seem rather aimless at times, while Flys’ vocals rather get away from him on closer “Out of Slumber,” which by its end feels like someone desperately trying to claw themselves out of slumber and into wakefulness. The production, also handled by Flys, doesn’t always help, with the drums sometimes seeming to disappear down a hole (middle of “He Who Dwells”) before roaring back to the front of the stage, and the whole thing feeling loud and slightly flat, despite the DR6.

You have to admire the vision and ambition on show on To Lift the Veil, which in other hands would likely have been a hot mess. Far from easing themselves into things on their debut, Dissocia have thrown everything at this record and some of it’s really good (“Samsara” and “Zenosyne”). The stunning artwork by Rein Van Oyen (Haken) gives a sense of the surreal, expansive journey you can expect, but perhaps not the chaotic nature of the ride. I hope Dissocia have a second album in them because, with just a little more refinement and focus to iron out some of the inconsistencies, as well as improve the production a little, there is a helluva lot of very interesting potential here.

Rating: 2.5/5.0
DR: 6 | Format Reviewed: 320 kb/s mp3
Label: Willowtip Records
Websites: dissociaofficial.bandcamp.com/album/to-lift-the-veil | facebook.com/dissociaofficial
Releases Worldwide: March 21st, 2025

#25 #2025 #AmericanMetal #CaligulaSHorse #Cancer #Deathcore #DevinTownsend #Dissocia #ElectronicaMetal #EternalStorm #Gojira #Mar25 #Persefone #ProgressiveMetal #Review #Reviews #Spanish #Synthwave #ToLiftTheVeil #Unreqvited #WillowtipRecords #Wormed

Dissocia – To Lift the Veil Review

By Carcharodon

Dissocia is the brainchild of multi-instrumentalist Daniel R Flys (of Persefone and Eternal Storm) and drummer Gabriel Valcázar (Wormed and Cancer). On their debut, To Lift the Veil, the duo set themselves a challenge: blend extreme metal with synthwave and dreamwave elements to create a catchy, yet unpredictable, blend of genres that come together into a progressive package. Were these two complete unknowns presenting that vision, one would rightly expect a horrifically unlistenable car crash. However, given Flys and Valcázar’s pedigree with their other outfits, I had somewhat higher hopes (albeit with expectations carefully managed) for Dissocia. I’m not entirely sure what dreamwave is, and synthwave is not my go-to, although it has its place1 but, mixed with extreme metal, I envisaged some sort of off-the-wall Devin Townsend craziness happening.

Straight out of the gate, the dancing arpeggio-like guitar line and swelling synths that open “Existentialist” make clear that To Lift the Veil is going to be a wild ride. And so it proves. Across a chaotic 41 minutes and change, Dissocia lurch between progressive melodeath, something that approaches deathcore in a few places (“He Who Dwells”), symphonic synth movements, dreamy Unreqvited-esque sequences and more, the whole often set to weirdly discordant, pulsing rhythms that border on industrial groove. All in all, the album’s structures have the same levels of predictability as the movements of a severely inebriated person crossing an ice rink. This need not necessarily be viewed as a bad thing though. Flys is both a talented guitarist and a versatile vocalist, his harsh vox often recalling Gojira’s Joe Duplantier (“Existentialist”), while his surprisingly delicate cleans, which occasionally wander into Caligula’s Horse territory (“Evasion”), offer a much-needed extra dimension. Similarly, Valcázar’s work on drums is stellar and the sheer unpredictability of this record is part of its charm.

The challenge for Dissocia is to somehow tie the numerous threads of To Lift the Veil into a cohesive tapestry, rather than a ball of yarn. At its strongest, they manage this well. There’s a rabid groove to “Samsara” that it’s almost impossible not to enjoy, while the slow build synth opening to “Zenosyne” gradually unfolds itself, the tension building, before the Flys’ guitar lets loose progressive death riffs and Valcázar unleashes overlapping broadsides behind the kit. This flows well into “The Lucifer Effect,” which similarly shifts between soaring moments of chaos and more reflective passages. While the turn-on-a-dime nature of the craziness does in some ways recall Devin Townsend, it’s not until the heavily distorted screams at the midway point of closer “Out of Slumber” that Hevy Devy really shows through in the vocals.

Not everything on To Lift the Veil works though and, at times, it feels like Dissocia are losing their grasp on the myriad elements of the record. “He Who Dwells” is the most obvious example of this, as the progressive extreme elements, which often mirror opener “Existentialist,” stray into deathcore territory, particularly in Valcázar’s drumming. This simply doesn’t gel with the rest of To Lift the Veil. Equally, the drifting moods of “Evasion” seem rather aimless at times, while Flys’ vocals rather get away from him on closer “Out of Slumber,” which by its end feels like someone desperately trying to claw themselves out of slumber and into wakefulness. The production, also handled by Flys, doesn’t always help, with the drums sometimes seeming to disappear down a hole (middle of “He Who Dwells”) before roaring back to the front of the stage, and the whole thing feeling loud and slightly flat, despite the DR6.

You have to admire the vision and ambition on show on To Lift the Veil, which in other hands would likely have been a hot mess. Far from easing themselves into things on their debut, Dissocia have thrown everything at this record and some of it’s really good (“Samsara” and “Zenosyne”). The stunning artwork by Rein Van Oyen (Haken) gives a sense of the surreal, expansive journey you can expect, but perhaps not the chaotic nature of the ride. I hope Dissocia have a second album in them because, with just a little more refinement and focus to iron out some of the inconsistencies, as well as improve the production a little, there is a helluva lot of very interesting potential here.

Rating: 2.5/5.0
DR: 6 | Format Reviewed: 320 kb/s mp3
Label: Willowtip Records
Websites: dissociaofficial.bandcamp.com/album/to-lift-the-veil | facebook.com/dissociaofficial
Releases Worldwide: March 21st, 2025

#25 #2025 #AmericanMetal #CaligulaSHorse #Cancer #Deathcore #DevinTownsend #Dissocia #ElectronicaMetal #EternalStorm #Gojira #Mar25 #Persefone #ProgressiveMetal #Review #Reviews #Spanish #Synthwave #ToLiftTheVeil #Unreqvited #WillowtipRecords #Wormed

For #BlackMetalMonday by @HailsandAles:

#Unreqvited: The Antimatter

https://song.link/287zmdk6f03qd

#AtmosphericBlackMetal #Blackgaze #PostBlackMetal

FFO #Heretoir #Skyforest #VioletCold

Unreqvited – A Pathway to the Moon Review

By Carcharodon

Unreqvited and I have history. The excellent Mosaic I: L’Amour et L’Ardeur (2018) was just the third review I wrote here and also my first 4.0.1 Since then, I’ve reviewed the slightly creaky Mosaic II: La déteste et la détresse (3.0) and the very good Beautiful Ghosts (3.5). Now back with seventh album, A Pathway to the Moon, Unreqvited are the band I’ve reviewed more than any other, and the bright, expansive synth work, paired with post-black explosions and howled, wordless vocals feel almost like a comforting hug at this point. While retaining a core sound, Unreqvited’s albums have moved progressively away from the DSBM / post-black stylings that defined their early releases, moving ever further into an ambient post-space. However, A Pathway to the Moon, sees possibly the biggest shift to date, the introduction of vocals. Like, proper singing, with words and stuff. So, what does sole member 鬼 (Ghost) have to say?

While closer to a traditional album in structure than Unreqvited’s previous output, A Pathway to the Moon gives the impression of a cinematic soundtrack. Flowing between something that, at times, nudges up against Ihsahn territory (“The Antimatter”), synth-dominated ambient work and soaring guitar- and vocal-led pieces that could almost be Caligula’s Horse in places (“The Starforger”), there’s a lot to take in. It’s credit to 鬼 that the album retains a cohesive feel, despite its chameleonic mood shifts. Bookended by the percussion-free dreams of “Overture: I Disintegrate” and “Departure: Everlasting Dream,” A Pathway to the Moon has the feel of a journey, guiding the listener through shifting landscapes. Or moonscapes. For all the lush synth work and keys, there’s something desolate and sad about the album, which has a much more despondent feel to it than 2021’s Beautiful Ghosts.

Perhaps A Pathway to the Moon’s feeling of loneliness is driven by the vocals. It turns out that 鬼’s voice, previously a wordless, howling demon, is actually high, clear, and fragile, with an almost ethereal edge to it, especially when double-tracked (“Void Essence / Frozen Tears”). In places, I was reminded of Mark Garrett’s (Kardashev) cleans, which is a very good thing indeed. While clean vocals now dominate, both black metal rasps and DSBM shrieks have their place in the mix but, from the outset to the close, it’s Unreqvited’s new face that we see the most. Whether set to warbling electronica (“Into the Starlit Beyond”) or dancing guitar lines (“The Starforger”), it’s hard to see the focus as anything but 鬼’s voice. There may be a degree to which this is because A Pathway to the Moon shatters my expectations of what an Unreqvited album is but there is no doubt that, after six albums more or less instrumental albums, 鬼 has found his voice.

The prominent introduction, not just of vocals, but of clean singing, came as a surprise to me. However, on reflection, it is also a natural progression in Unreqvited’s sound from previous outing, Beautiful Ghosts. It also aligns with the shift into being more of a touring band. While 鬼’s (surprisingly) strong voice carries the transition, to a certain degree, the compositional focus has also shifted slightly away from the gorgeous soundscapes that were the hallmark of Mosaic I and Empathica. While “Void Essence / Frozen Tears” showcases all aspects of Unreqvited’s sound to excellent effect, other tracks (most notably “Into the Starlit Beyond”) feel almost like something was taken away to make space for the vocals. To put it another way, rather than the vocals embellishing or enhancing what was great about Unreqvited, what used to be achieved instrumentally, is now achieved through the vocals. It’s still very good but weirdly has the feel of treading water, rather than moving forward. The drums are also pushed way down into the mix to make space for the vox, leaving the percussion lacking a bit of impact.

If that last paragraph reads as heavily critical of Unreqvited, it’s not meant to. I really enjoy A Pathway to the Moon but I’ve been on something of a journey with it. I generally don’t listen to advance tracks of things I know I’m going to review, preferring to come into the album as a whole. This meant the shift to singing caught me off guard. After I got over my surprise, I loved it but, the more time I spent with the album, the more I missed some of the rich textures and dynamics from previous records, some of which were left on the cutting room floor. That said, this is a hugely enjoyable, emotively written record that I thoroughly recommend.

Rating: 3.5/5.0
DR: 7 | Format Reviewed: 320 kb/s mp3
Label: Prophecy Productions
Websites: unreqvited.bandcamp.com | facebook.com/unreqvited
Releases Worldwide: February 7th, 2025

#2025 #35 #APathwayToTheMoon #AmbientMetal #Blackgaze #CaligulaSHorse #CanadianMetal #DSBM #Feb25 #Ihsahn #Kardashev #PostRock #PostBlackMetal #PostMetal #ProphecyProductions #Review #Reviews #Shoegaze #Synthwave #Unreqvited

Unreqvited – A Pathway to the Moon Review

By Carcharodon

Unreqvited and I have history. The excellent Mosaic I: L’Amour et L’Ardeur (2018) was just the third review I wrote here and also my first 4.0.1 Since then, I’ve reviewed the slightly creaky Mosaic II: La déteste et la détresse (3.0) and the very good Beautiful Ghosts (3.5). Now back with seventh album, A Pathway to the Moon, Unreqvited are the band I’ve reviewed more than any other, and the bright, expansive synth work, paired with post-black explosions and howled, wordless vocals feel almost like a comforting hug at this point. While retaining a core sound, Unreqvited’s albums have moved progressively away from the DSBM / post-black stylings that defined their early releases, moving ever further into an ambient post-space. However, A Pathway to the Moon, sees possibly the biggest shift to date, the introduction of vocals. Like, proper singing, with words and stuff. So, what does sole member 鬼 (Ghost) have to say?

While closer to a traditional album in structure than Unreqvited’s previous output, A Pathway to the Moon gives the impression of a cinematic soundtrack. Flowing between something that, at times, nudges up against Ihsahn territory (“The Antimatter”), synth-dominated ambient work and soaring guitar- and vocal-led pieces that could almost be Caligula’s Horse in places (“The Starforger”), there’s a lot to take in. It’s credit to 鬼 that the album retains a cohesive feel, despite its chameleonic mood shifts. Bookended by the percussion-free dreams of “Overture: I Disintegrate” and “Departure: Everlasting Dream,” A Pathway to the Moon has the feel of a journey, guiding the listener through shifting landscapes. Or moonscapes. For all the lush synth work and keys, there’s something desolate and sad about the album, which has a much more despondent feel to it than 2021’s Beautiful Ghosts.

Perhaps A Pathway to the Moon’s feeling of loneliness is driven by the vocals. It turns out that 鬼’s voice, previously a wordless, howling demon, is actually high, clear, and fragile, with an almost ethereal edge to it, especially when double-tracked (“Void Essence / Frozen Tears”). In places, I was reminded of Mark Garrett’s (Kardashev) cleans, which is a very good thing indeed. While clean vocals now dominate, both black metal rasps and DSBM shrieks have their place in the mix but, from the outset to the close, it’s Unreqvited’s new face that we see the most. Whether set to warbling electronica (“Into the Starlit Beyond”) or dancing guitar lines (“The Starforger”), it’s hard to see the focus as anything but 鬼’s voice. There may be a degree to which this is because A Pathway to the Moon shatters my expectations of what an Unreqvited album is but there is no doubt that, after six albums more or less instrumental albums, 鬼 has found his voice.

The prominent introduction, not just of vocals, but of clean singing, came as a surprise to me. However, on reflection, it is also a natural progression in Unreqvited’s sound from previous outing, Beautiful Ghosts. It also aligns with the shift into being more of a touring band. While 鬼’s (surprisingly) strong voice carries the transition, to a certain degree, the compositional focus has also shifted slightly away from the gorgeous soundscapes that were the hallmark of Mosaic I and Empathica. While “Void Essence / Frozen Tears” showcases all aspects of Unreqvited’s sound to excellent effect, other tracks (most notably “Into the Starlit Beyond”) feel almost like something was taken away to make space for the vocals. To put it another way, rather than the vocals embellishing or enhancing what was great about Unreqvited, what used to be achieved instrumentally, is now achieved through the vocals. It’s still very good but weirdly has the feel of treading water, rather than moving forward. The drums are also pushed way down into the mix to make space for the vox, leaving the percussion lacking a bit of impact.

If that last paragraph reads as heavily critical of Unreqvited, it’s not meant to. I really enjoy A Pathway to the Moon but I’ve been on something of a journey with it. I generally don’t listen to advance tracks of things I know I’m going to review, preferring to come into the album as a whole. This meant the shift to singing caught me off guard. After I got over my surprise, I loved it but, the more time I spent with the album, the more I missed some of the rich textures and dynamics from previous records, some of which were left on the cutting room floor. That said, this is a hugely enjoyable, emotively written record that I thoroughly recommend.

Rating: 3.5/5.0
DR: 7 | Format Reviewed: 320 kb/s mp3
Label: Prophecy Productions
Websites: unreqvited.bandcamp.com | facebook.com/unreqvited
Releases Worldwide: February 7th, 2025

#2025 #35 #APathwayToTheMoon #AmbientMetal #Blackgaze #CaligulaSHorse #CanadianMetal #DSBM #Feb25 #Ihsahn #Kardashev #PostRock #PostBlackMetal #PostMetal #ProphecyProductions #Review #Reviews #Shoegaze #Synthwave #Unreqvited

Unreqvited – A Pathway to the Moon Review

By Carcharodon

Unreqvited and I have history. The excellent Mosaic I: L’Amour et L’Ardeur (2018) was just the third review I wrote here and also my first 4.0.1 Since then, I’ve reviewed the slightly creaky Mosaic II: La déteste et la détresse (3.0) and the very good Beautiful Ghosts (3.5). Now back with seventh album, A Pathway to the Moon, Unreqvited are the band I’ve reviewed more than any other, and the bright, expansive synth work, paired with post-black explosions and howled, wordless vocals feel almost like a comforting hug at this point. While retaining a core sound, Unreqvited’s albums have moved progressively away from the DSBM / post-black stylings that defined their early releases, moving ever further into an ambient post-space. However, A Pathway to the Moon, sees possibly the biggest shift to date, the introduction of vocals. Like, proper singing, with words and stuff. So, what does sole member 鬼 (Ghost) have to say?

While closer to a traditional album in structure than Unreqvited’s previous output, A Pathway to the Moon gives the impression of a cinematic soundtrack. Flowing between something that, at times, nudges up against Ihsahn territory (“The Antimatter”), synth-dominated ambient work and soaring guitar- and vocal-led pieces that could almost be Caligula’s Horse in places (“The Starforger”), there’s a lot to take in. It’s credit to 鬼 that the album retains a cohesive feel, despite its chameleonic mood shifts. Bookended by the percussion-free dreams of “Overture: I Disintegrate” and “Departure: Everlasting Dream,” A Pathway to the Moon has the feel of a journey, guiding the listener through shifting landscapes. Or moonscapes. For all the lush synth work and keys, there’s something desolate and sad about the album, which has a much more despondent feel to it than 2021’s Beautiful Ghosts.

Perhaps A Pathway to the Moon’s feeling of loneliness is driven by the vocals. It turns out that 鬼’s voice, previously a wordless, howling demon, is actually high, clear, and fragile, with an almost ethereal edge to it, especially when double-tracked (“Void Essence / Frozen Tears”). In places, I was reminded of Mark Garrett’s (Kardashev) cleans, which is a very good thing indeed. While clean vocals now dominate, both black metal rasps and DSBM shrieks have their place in the mix but, from the outset to the close, it’s Unreqvited’s new face that we see the most. Whether set to warbling electronica (“Into the Starlit Beyond”) or dancing guitar lines (“The Starforger”), it’s hard to see the focus as anything but 鬼’s voice. There may be a degree to which this is because A Pathway to the Moon shatters my expectations of what an Unreqvited album is but there is no doubt that, after six albums more or less instrumental albums, 鬼 has found his voice.

The prominent introduction, not just of vocals, but of clean singing, came as a surprise to me. However, on reflection, it is also a natural progression in Unreqvited’s sound from previous outing, Beautiful Ghosts. It also aligns with the shift into being more of a touring band. While 鬼’s (surprisingly) strong voice carries the transition, to a certain degree, the compositional focus has also shifted slightly away from the gorgeous soundscapes that were the hallmark of Mosaic I and Empathica. While “Void Essence / Frozen Tears” showcases all aspects of Unreqvited’s sound to excellent effect, other tracks (most notably “Into the Starlit Beyond”) feel almost like something was taken away to make space for the vocals. To put it another way, rather than the vocals embellishing or enhancing what was great about Unreqvited, what used to be achieved instrumentally, is now achieved through the vocals. It’s still very good but weirdly has the feel of treading water, rather than moving forward. The drums are also pushed way down into the mix to make space for the vox, leaving the percussion lacking a bit of impact.

If that last paragraph reads as heavily critical of Unreqvited, it’s not meant to. I really enjoy A Pathway to the Moon but I’ve been on something of a journey with it. I generally don’t listen to advance tracks of things I know I’m going to review, preferring to come into the album as a whole. This meant the shift to singing caught me off guard. After I got over my surprise, I loved it but, the more time I spent with the album, the more I missed some of the rich textures and dynamics from previous records, some of which were left on the cutting room floor. That said, this is a hugely enjoyable, emotively written record that I thoroughly recommend.

Rating: 3.5/5.0
DR: 7 | Format Reviewed: 320 kb/s mp3
Label: Prophecy Productions
Websites: unreqvited.bandcamp.com | facebook.com/unreqvited
Releases Worldwide: February 7th, 2025

#2025 #35 #APathwayToTheMoon #AmbientMetal #Blackgaze #CaligulaSHorse #CanadianMetal #DSBM #Feb25 #Ihsahn #Kardashev #PostRock #PostBlackMetal #PostMetal #ProphecyProductions #Review #Reviews #Shoegaze #Synthwave #Unreqvited

Unreqvited – A Pathway to the Moon Review

By Carcharodon

Unreqvited and I have history. The excellent Mosaic I: L’Amour et L’Ardeur (2018) was just the third review I wrote here and also my first 4.0.1 Since then, I’ve reviewed the slightly creaky Mosaic II: La déteste et la détresse (3.0) and the very good Beautiful Ghosts (3.5). Now back with seventh album, A Pathway to the Moon, Unreqvited are the band I’ve reviewed more than any other, and the bright, expansive synth work, paired with post-black explosions and howled, wordless vocals feel almost like a comforting hug at this point. While retaining a core sound, Unreqvited’s albums have moved progressively away from the DSBM / post-black stylings that defined their early releases, moving ever further into an ambient post-space. However, A Pathway to the Moon, sees possibly the biggest shift to date, the introduction of vocals. Like, proper singing, with words and stuff. So, what does sole member 鬼 (Ghost) have to say?

While closer to a traditional album in structure than Unreqvited’s previous output, A Pathway to the Moon gives the impression of a cinematic soundtrack. Flowing between something that, at times, nudges up against Ihsahn territory (“The Antimatter”), synth-dominated ambient work and soaring guitar- and vocal-led pieces that could almost be Caligula’s Horse in places (“The Starforger”), there’s a lot to take in. It’s credit to 鬼 that the album retains a cohesive feel, despite its chameleonic mood shifts. Bookended by the percussion-free dreams of “Overture: I Disintegrate” and “Departure: Everlasting Dream,” A Pathway to the Moon has the feel of a journey, guiding the listener through shifting landscapes. Or moonscapes. For all the lush synth work and keys, there’s something desolate and sad about the album, which has a much more despondent feel to it than 2021’s Beautiful Ghosts.

Perhaps A Pathway to the Moon’s feeling of loneliness is driven by the vocals. It turns out that 鬼’s voice, previously a wordless, howling demon, is actually high, clear, and fragile, with an almost ethereal edge to it, especially when double-tracked (“Void Essence / Frozen Tears”). In places, I was reminded of Mark Garrett’s (Kardashev) cleans, which is a very good thing indeed. While clean vocals now dominate, both black metal rasps and DSBM shrieks have their place in the mix but, from the outset to the close, it’s Unreqvited’s new face that we see the most. Whether set to warbling electronica (“Into the Starlit Beyond”) or dancing guitar lines (“The Starforger”), it’s hard to see the focus as anything but 鬼’s voice. There may be a degree to which this is because A Pathway to the Moon shatters my expectations of what an Unreqvited album is but there is no doubt that, after six albums more or less instrumental albums, 鬼 has found his voice.

The prominent introduction, not just of vocals, but of clean singing, came as a surprise to me. However, on reflection, it is also a natural progression in Unreqvited’s sound from previous outing, Beautiful Ghosts. It also aligns with the shift into being more of a touring band. While 鬼’s (surprisingly) strong voice carries the transition, to a certain degree, the compositional focus has also shifted slightly away from the gorgeous soundscapes that were the hallmark of Mosaic I and Empathica. While “Void Essence / Frozen Tears” showcases all aspects of Unreqvited’s sound to excellent effect, other tracks (most notably “Into the Starlit Beyond”) feel almost like something was taken away to make space for the vocals. To put it another way, rather than the vocals embellishing or enhancing what was great about Unreqvited, what used to be achieved instrumentally, is now achieved through the vocals. It’s still very good but weirdly has the feel of treading water, rather than moving forward. The drums are also pushed way down into the mix to make space for the vox, leaving the percussion lacking a bit of impact.

If that last paragraph reads as heavily critical of Unreqvited, it’s not meant to. I really enjoy A Pathway to the Moon but I’ve been on something of a journey with it. I generally don’t listen to advance tracks of things I know I’m going to review, preferring to come into the album as a whole. This meant the shift to singing caught me off guard. After I got over my surprise, I loved it but, the more time I spent with the album, the more I missed some of the rich textures and dynamics from previous records, some of which were left on the cutting room floor. That said, this is a hugely enjoyable, emotively written record that I thoroughly recommend.

Rating: 3.5/5.0
DR: 7 | Format Reviewed: 320 kb/s mp3
Label: Prophecy Productions
Websites: unreqvited.bandcamp.com | facebook.com/unreqvited
Releases Worldwide: February 7th, 2025

Show 1 footnote

1. It may not be my finest piece of writing but I stand by the score. ↩

#2025 #35 #APathwayToTheMoon #AmbientMetal #Blackgaze #CaligulaSHorse #CanadianMetal #DSBM #Feb25 #Ihsahn #Kardashev #PostRock #PostBlackMetal #PostMetal #ProphecyProductions #Review #Reviews #Shoegaze #Synthwave #Unreqvited

Weltenbrandt – Transzendenz Schatten Romantik Review

By Steel Druhm

Written by: Nameless-n00b_86

As the temperature where I live begins to inch downward, I find serenity in bleak yet beautiful post-black metal. Weltenbrandt is a relatively new Austrian post-black band looking to make a name for themselves in the review scene with their second full-length album Transzendenz Schatten Romantik. This is fitting because I, too, am attempting to make a name for myself—both literally and figuratively—on the other side of the review process.1 I eagerly tore open my very first promo, which informed me of several guest vocalist appearances from bands like Harakiri for the Sky and Ellende (among others). While I went in with few expectations for Weltenbrandt, they were slightly raised by virtue of association with such heavy hitters in the genre. Can Weltenbrandt reach the same level of quality and—perhaps more importantly—differentiate themselves from their peers?

A somewhat paradoxical duality is immediately apparent when listening to Transzendenz Schatten Romantik. Half the album is composed of melodic black metal, most commonly with mid-paced tremolo riffs and a dolorous atmosphere similar to NONE. The other half expands upon the sound of the debut album Schöpfung with heartfelt instrumental sections in the vein of Unreqvited. On paper, neither of these components is particularly new or noteworthy. However, what makes Transzendenz Schatten Romantik impressive is the ease with which it ebbs and flows between the black metal and the peaceful instrumental passages. For instance, “Prana” opens with a simple choral melody that melds into a post-black verse and then aids the handoff to the string arrangement in the middle. Like a pair of tightly entwined ropes, both parts are stronger together than they would be individually.

If I had to choose a single word to describe Transzendenz Schatten Romantik, it would be “varied”. Founder, songwriter, and vocalist Bernhard Zieher has a knack for using many different tools in ways that feel natural. Many of the songs pull from an array of pianos, strings, choral backing vocals, synths, and acoustic guitars to infuse emotion into the music. There’s also a range of tempos within and between songs. While none are quite funereal in tempo, some are slower and tend to feature more of the aforementioned alternative instrumentation (“Melancholia Urgewalt,” “Resilienz,” and “Broken Crosses”). Others are faster and more guitar-heavy, reminding the listener that this is still black metal at heart (“Apotropaion” and “Tiefste Rast”). Then there are, of course, the two interlude tracks. In my experience, instrumental interludes usually fulfill one of two roles in an album: pleasant palate cleanser or pointless distraction. Thankfully, both “Ornament” and “Serenade” fall under the former category and contribute in a small way to the overall atmosphere and flow of the album.

As refreshing as the instrumentation is, the element that could benefit from more diversity would be the vocals. No less than four guest vocalists are crammed into Transzendenz Schatten Romantik: P.G. of Groza on “Apotropaion,” J.J. of Harakiri for the Sky/Karg on “Prana,” Silvano of Regnum Noricum on “Broken Crosses” and L.G. of Ellende on “Tiefste Rast.” That’s an abundance of guests, considering the total runtime is only 39 minutes across 9 tracks (7 full-length songs). While they certainly don’t detract from the record, they all perform harsh vocals that don’t add much above and beyond Zieher’s snarls and screams. Having relatively few tracks with solely the main vocalist undermines this fledgling band’s identity to some degree. Furthermore, this brand of highly melodic and emotional black metal can be elevated by clean vocals—Vorna’s gorgeous album Aamunkoi from last year is a stellar example—so the lack of a guest singer to complement Zieher seems like a missed opportunity.

Despite these minor concerns, almost everything that Weltenbrandt attempts lands well, which is surprising for such a young band. They have succeeded in writing an album worthy of being mentioned and played alongside the more established groups that lent their voices to Transzendenz Schatten Romantik while carving out their own style in the genre. It’s a strong effort that is barely held back from a higher score by some slight reservations (and the fact that Steel removed the 4th key from all n00b-issued keyboards after Holdeneye went through the program). I can heartily recommend this album to any inclined towards the softer side of black metal or those looking to get a head start on autumn moods in the Northern Hemisphere.

Rating: 3.5/5.0
DR: WAV | Format Reviewed: WAVY
Label: Self-Release
Websites: weltenbrandt.bandcamp.com | facebook.com/weltenbrandt
Releases Worldwide: August 25th, 2024

#2024 #35 #Aug24 #AustrianMetal #DepressiveBlackMetal #Ellende #Groza #HarakiriForTheSky #Karg #RegnumNoricum #Review #Reviews #SelfRelease #TranszendenzSchattenRomantik #Unreqvited #Vorna #Weltenbrandt

Weltenbrandt – Transzendenz Schatten Romantik Review

By Steel Druhm

Written by: Nameless-n00b_86

As the temperature where I live begins to inch downward, I find serenity in bleak yet beautiful post-black metal. Weltenbrandt is a relatively new Austrian post-black band looking to make a name for themselves in the review scene with their second full-length album Transzendenz Schatten Romantik. This is fitting because I, too, am attempting to make a name for myself—both literally and figuratively—on the other side of the review process.1 I eagerly tore open my very first promo, which informed me of several guest vocalist appearances from bands like Harakiri for the Sky and Ellende (among others). While I went in with few expectations for Weltenbrandt, they were slightly raised by virtue of association with such heavy hitters in the genre. Can Weltenbrandt reach the same level of quality and—perhaps more importantly—differentiate themselves from their peers?

A somewhat paradoxical duality is immediately apparent when listening to Transzendenz Schatten Romantik. Half the album is composed of melodic black metal, most commonly with mid-paced tremolo riffs and a dolorous atmosphere similar to NONE. The other half expands upon the sound of the debut album Schöpfung with heartfelt instrumental sections in the vein of Unreqvited. On paper, neither of these components is particularly new or noteworthy. However, what makes Transzendenz Schatten Romantik impressive is the ease with which it ebbs and flows between the black metal and the peaceful instrumental passages. For instance, “Prana” opens with a simple choral melody that melds into a post-black verse and then aids the handoff to the string arrangement in the middle. Like a pair of tightly entwined ropes, both parts are stronger together than they would be individually.

If I had to choose a single word to describe Transzendenz Schatten Romantik, it would be “varied”. Founder, songwriter, and vocalist Bernhard Zieher has a knack for using many different tools in ways that feel natural. Many of the songs pull from an array of pianos, strings, choral backing vocals, synths, and acoustic guitars to infuse emotion into the music. There’s also a range of tempos within and between songs. While none are quite funereal in tempo, some are slower and tend to feature more of the aforementioned alternative instrumentation (“Melancholia Urgewalt,” “Resilienz,” and “Broken Crosses”). Others are faster and more guitar-heavy, reminding the listener that this is still black metal at heart (“Apotropaion” and “Tiefste Rast”). Then there are, of course, the two interlude tracks. In my experience, instrumental interludes usually fulfill one of two roles in an album: pleasant palate cleanser or pointless distraction. Thankfully, both “Ornament” and “Serenade” fall under the former category and contribute in a small way to the overall atmosphere and flow of the album.

As refreshing as the instrumentation is, the element that could benefit from more diversity would be the vocals. No less than four guest vocalists are crammed into Transzendenz Schatten Romantik: P.G. of Groza on “Apotropaion,” J.J. of Harakiri for the Sky/Karg on “Prana,” Silvano of Regnum Noricum on “Broken Crosses” and L.G. of Ellende on “Tiefste Rast.” That’s an abundance of guests, considering the total runtime is only 39 minutes across 9 tracks (7 full-length songs). While they certainly don’t detract from the record, they all perform harsh vocals that don’t add much above and beyond Zieher’s snarls and screams. Having relatively few tracks with solely the main vocalist undermines this fledgling band’s identity to some degree. Furthermore, this brand of highly melodic and emotional black metal can be elevated by clean vocals—Vorna’s gorgeous album Aamunkoi from last year is a stellar example—so the lack of a guest singer to complement Zieher seems like a missed opportunity.

Despite these minor concerns, almost everything that Weltenbrandt attempts lands well, which is surprising for such a young band. They have succeeded in writing an album worthy of being mentioned and played alongside the more established groups that lent their voices to Transzendenz Schatten Romantik while carving out their own style in the genre. It’s a strong effort that is barely held back from a higher score by some slight reservations (and the fact that Steel removed the 4th key from all n00b-issued keyboards after Holdeneye went through the program). I can heartily recommend this album to any inclined towards the softer side of black metal or those looking to get a head start on autumn moods in the Northern Hemisphere.

Rating: 3.5/5.0
DR: WAV | Format Reviewed: WAVY
Label: Self-Release
Websites: weltenbrandt.bandcamp.com | facebook.com/weltenbrandt
Releases Worldwide: August 25th, 2024

#2024 #35 #Aug24 #AustrianMetal #DepressiveBlackMetal #Ellende #Groza #HarakiriForTheSky #Karg #RegnumNoricum #Review #Reviews #SelfRelease #TranszendenzSchattenRomantik #Unreqvited #Vorna #Weltenbrandt

Weltenbrandt – Transzendenz Schatten Romantik Review

By Steel Druhm

Written by: Nameless-n00b_86

As the temperature where I live begins to inch downward, I find serenity in bleak yet beautiful post-black metal. Weltenbrandt is a relatively new Austrian post-black band looking to make a name for themselves in the review scene with their second full-length album Transzendenz Schatten Romantik. This is fitting because I, too, am attempting to make a name for myself—both literally and figuratively—on the other side of the review process.1 I eagerly tore open my very first promo, which informed me of several guest vocalist appearances from bands like Harakiri for the Sky and Ellende (among others). While I went in with few expectations for Weltenbrandt, they were slightly raised by virtue of association with such heavy hitters in the genre. Can Weltenbrandt reach the same level of quality and—perhaps more importantly—differentiate themselves from their peers?

A somewhat paradoxical duality is immediately apparent when listening to Transzendenz Schatten Romantik. Half the album is composed of melodic black metal, most commonly with mid-paced tremolo riffs and a dolorous atmosphere similar to NONE. The other half expands upon the sound of the debut album Schöpfung with heartfelt instrumental sections in the vein of Unreqvited. On paper, neither of these components is particularly new or noteworthy. However, what makes Transzendenz Schatten Romantik impressive is the ease with which it ebbs and flows between the black metal and the peaceful instrumental passages. For instance, “Prana” opens with a simple choral melody that melds into a post-black verse and then aids the handoff to the string arrangement in the middle. Like a pair of tightly entwined ropes, both parts are stronger together than they would be individually.

If I had to choose a single word to describe Transzendenz Schatten Romantik, it would be “varied”. Founder, songwriter, and vocalist Bernhard Zieher has a knack for using many different tools in ways that feel natural. Many of the songs pull from an array of pianos, strings, choral backing vocals, synths, and acoustic guitars to infuse emotion into the music. There’s also a range of tempos within and between songs. While none are quite funereal in tempo, some are slower and tend to feature more of the aforementioned alternative instrumentation (“Melancholia Urgewalt,” “Resilienz,” and “Broken Crosses”). Others are faster and more guitar-heavy, reminding the listener that this is still black metal at heart (“Apotropaion” and “Tiefste Rast”). Then there are, of course, the two interlude tracks. In my experience, instrumental interludes usually fulfill one of two roles in an album: pleasant palate cleanser or pointless distraction. Thankfully, both “Ornament” and “Serenade” fall under the former category and contribute in a small way to the overall atmosphere and flow of the album.

As refreshing as the instrumentation is, the element that could benefit from more diversity would be the vocals. No less than four guest vocalists are crammed into Transzendenz Schatten Romantik: P.G. of Groza on “Apotropaion,” J.J. of Harakiri for the Sky/Karg on “Prana,” Silvano of Regnum Noricum on “Broken Crosses” and L.G. of Ellende on “Tiefste Rast.” That’s an abundance of guests, considering the total runtime is only 39 minutes across 9 tracks (7 full-length songs). While they certainly don’t detract from the record, they all perform harsh vocals that don’t add much above and beyond Zieher’s snarls and screams. Having relatively few tracks with solely the main vocalist undermines this fledgling band’s identity to some degree. Furthermore, this brand of highly melodic and emotional black metal can be elevated by clean vocals—Vorna’s gorgeous album Aamunkoi from last year is a stellar example—so the lack of a guest singer to complement Zieher seems like a missed opportunity.

Despite these minor concerns, almost everything that Weltenbrandt attempts lands well, which is surprising for such a young band. They have succeeded in writing an album worthy of being mentioned and played alongside the more established groups that lent their voices to Transzendenz Schatten Romantik while carving out their own style in the genre. It’s a strong effort that is barely held back from a higher score by some slight reservations (and the fact that Steel removed the 4th key from all n00b-issued keyboards after Holdeneye went through the program). I can heartily recommend this album to any inclined towards the softer side of black metal or those looking to get a head start on autumn moods in the Northern Hemisphere.

Rating: 3.5/5.0
DR: WAV | Format Reviewed: WAVY
Label: Self-Release
Websites: weltenbrandt.bandcamp.com | facebook.com/weltenbrandt
Releases Worldwide: August 25th, 2024

#2024 #35 #Aug24 #AustrianMetal #DepressiveBlackMetal #Ellende #Groza #HarakiriForTheSky #Karg #RegnumNoricum #Review #Reviews #SelfRelease #TranszendenzSchattenRomantik #Unreqvited #Vorna #Weltenbrandt

Olhava – Sacrifice Review

By Carcharodon

Russian atmoblack-shoegaze duo Olhava, comprising two-thirds of Trna, has been around since 2016 and already has five full-lengths under their belt. I don’t remember when I first became aware of them but I think I picked up their third record, 2020’s Lagoda, on release. That was a weighty slab of mournful and organic-sounding atmospheric black, which, despite its 71-minute runtime, I enjoyed quite a bit. While I listened to successors Frozen Bloom and Reborn, neither spoke to me much. I think often, for fans of the much trampled-upon atmoblack genre (particularly where it intersects, as Olhava does, with shoegaze), it can be hard to pinpoint why one album works for you and the next is … fine. So much of it depends on the nature and depth of the atmosphere evoked. Clue’s in the title, I guess. So where do Olhava take us on sixth LP, Sacrifice?

Less black metal than Trna, and more evocative synths a la Unreqvited, there is no rushing Olhava. Shimmering soundscapes are what they do, albeit that, where Unreqvited has (at least since 2018’s Mosaic I: L’Amour et L’Ardeur) hints of light and promise in the sound, Olhava is all shades of loss and a sense of hopeless grey. There is also a sense in which, despite there being two intervening LPs, Sacrifice feels like a very deliberate continuation of Lagoda, not least because the “Ageless River” interludes I through V from the latter record, continue onto this one, beginning at “Ageless River VI” and going on to IX. Alternating with the four non-interlude tracks, the “Ageless River”s give a consistent sense of flow, that runs through the record, like a stream through a dark forest. Percussion-free (except for a few sparse beats in “Ageless River IX”), this series focuses on natural, organic sounds and, to a degree, acts as a shoegaze-cleanser between the blackened expressions of loss and hurt that comprise the rest of Sacrifice.

That rest has a sort of ethereal dreaminess to it, which Olhava invites you to get lost in. Andrey Novozhilov’s harsh, rasping vocals surface, sink and resurface again, playing in the middle distance, an additional piece of scenery, rather than a focal point for much of Sacrifice. His work on guitars prioritizes hypnotic repetition and sustained chords over overtly memorable riffs, seeking to gradually infiltrate your consciousness, rather than overwhelm it. Similarly, Timur Yusupov’s work on drums has something of countrymen Grima (on Rotting Garden, particularly) about it, feeling somehow contemplative, despite the heavy use of blasts. The epic “I See Myself in Your Eyes,” at 17 minutes the album’s longest cut, is the highlight, as it shifts through moods, delicate tremolos and synth work, ebbing and flowing alongside drums, which move between deft cymbal work and pounding percussive rhythms.

There is much to appreciate about Sacrifice, at least if you’re a fan of the style, but there’s also a lot of Sacrifice to appreciate. Clocking in at 86 minutes, of which well over 20 minutes is accounted for by the percussion-free instrumental “Ageless River” interludes, there is no way around the fact that this thing is bloated. To be clear, there is nothing I dislike about what Olhava do here, including those interludes, which actually work well to simultaneously break up and stitch together the main canvasses. However, the sheer volume of material here is a problem. The bigger problem, however, is the fact that it is very hard to differentiate between tracks, which coupled with the runtime, weighs heavy on the listener, and not just emotionally. Even “Eternal Fire,” which is probably the most straightforwardly atmoblack piece on the record fails to leave a lasting impact and that is, at least in part, because despite being only the third track proper, we’re already over 45 minutes into the album before it starts. The production does help Sacrifice, feeling light and organic, it is, in that sense at least, a relatively easy listen.

Ever since their tight 40-minute self-titled debut, runtimes on Olhava records have crept up and up, now routinely exceeding an hour in length but, mostly, with diminishing returns. Despite having spent two weeks with Sacrifice, I find myself utterly unable, at any given point, to tell you, even roughly, where I am in its vast reaches. The intrinsic problem isn’t the runtime, however, but rather the evenness of what happens during it. Rather like the cover art, it is richly textured but flat. For all my complaints about the length of, for example, Midnight Odyssey records, they have recognizable, standout moments, which are sorely lacking on Sacrifice. I am disappointed.

Rating: 2.0/5.0
DR: 8 | Format Reviewed: 320 kbps mp3
Label: Avantgarde Music
Websites: olhava.bandcamp.com | facebook.com/olhavaband
Releases Worldwide: January 26th, 2024

#20 #2024 #AtmosphericBlackMetal #AvantgardeMusic #BlackMetal #Gaerea #Grima #Jan24 #MidnightOdyssey #MosaicILAmourEtLArdeur #Olhava #Review #Reviews #RussianMetal #Sacrifice #Shoegaze #TRNA #Unreqvited

Olhava – Sacrifice Review

By Carcharodon

Russian atmoblack-shoegaze duo Olhava, comprising two-thirds of Trna, has been around since 2016 and already has five full-lengths under their belt. I don’t remember when I first became aware of them but I think I picked up their third record, 2020’s Lagoda, on release. That was a weighty slab of mournful and organic-sounding atmospheric black, which, despite its 71-minute runtime, I enjoyed quite a bit. While I listened to successors Frozen Bloom and Reborn, neither spoke to me much. I think often, for fans of the much trampled-upon atmoblack genre (particularly where it intersects, as Olhava does, with shoegaze), it can be hard to pinpoint why one album works for you and the next is … fine. So much of it depends on the nature and depth of the atmosphere evoked. Clue’s in the title, I guess. So where do Olhava take us on sixth LP, Sacrifice?

Less black metal than Trna, and more evocative synths a la Unreqvited, there is no rushing Olhava. Shimmering soundscapes are what they do, albeit that, where Unreqvited has (at least since 2018’s Mosaic I: L’Amour et L’Ardeur) hints of light and promise in the sound, Olhava is all shades of loss and a sense of hopeless grey. There is also a sense in which, despite there being two intervening LPs, Sacrifice feels like a very deliberate continuation of Lagoda, not least because the “Ageless River” interludes I through V from the latter record, continue onto this one, beginning at “Ageless River VI” and going on to IX. Alternating with the four non-interlude tracks, the “Ageless River”s give a consistent sense of flow, that runs through the record, like a stream through a dark forest. Percussion-free (except for a few sparse beats in “Ageless River IX”), this series focuses on natural, organic sounds and, to a degree, acts as a shoegaze-cleanser between the blackened expressions of loss and hurt that comprise the rest of Sacrifice.

That rest has a sort of ethereal dreaminess to it, which Olhava invites you to get lost in. Andrey Novozhilov’s harsh, rasping vocals surface, sink and resurface again, playing in the middle distance, an additional piece of scenery, rather than a focal point for much of Sacrifice. His work on guitars prioritizes hypnotic repetition and sustained chords over overtly memorable riffs, seeking to gradually infiltrate your consciousness, rather than overwhelm it. Similarly, Timur Yusupov’s work on drums has something of countrymen Grima (on Rotting Garden, particularly) about it, feeling somehow contemplative, despite the heavy use of blasts. The epic “I See Myself in Your Eyes,” at 17 minutes the album’s longest cut, is the highlight, as it shifts through moods, delicate tremolos and synth work, ebbing and flowing alongside drums, which move between deft cymbal work and pounding percussive rhythms.

There is much to appreciate about Sacrifice, at least if you’re a fan of the style, but there’s also a lot of Sacrifice to appreciate. Clocking in at 86 minutes, of which well over 20 minutes is accounted for by the percussion-free instrumental “Ageless River” interludes, there is no way around the fact that this thing is bloated. To be clear, there is nothing I dislike about what Olhava do here, including those interludes, which actually work well to simultaneously break up and stitch together the main canvasses. However, the sheer volume of material here is a problem. The bigger problem, however, is the fact that it is very hard to differentiate between tracks, which coupled with the runtime, weighs heavy on the listener, and not just emotionally. Even “Eternal Fire,” which is probably the most straightforwardly atmoblack piece on the record fails to leave a lasting impact and that is, at least in part, because despite being only the third track proper, we’re already over 45 minutes into the album before it starts. The production does help Sacrifice, feeling light and organic, it is, in that sense at least, a relatively easy listen.

Ever since their tight 40-minute self-titled debut, runtimes on Olhava records have crept up and up, now routinely exceeding an hour in length but, mostly, with diminishing returns. Despite having spent two weeks with Sacrifice, I find myself utterly unable, at any given point, to tell you, even roughly, where I am in its vast reaches. The intrinsic problem isn’t the runtime, however, but rather the evenness of what happens during it. Rather like the cover art, it is richly textured but flat. For all my complaints about the length of, for example, Midnight Odyssey records, they have recognizable, standout moments, which are sorely lacking on Sacrifice. I am disappointed.

Rating: 2.0/5.0
DR: 8 | Format Reviewed: 320 kbps mp3
Label: Avantgarde Music
Websites: olhava.bandcamp.com | facebook.com/olhavaband
Releases Worldwide: January 26th, 2024

#20 #2024 #AtmosphericBlackMetal #AvantgardeMusic #BlackMetal #Gaerea #Grima #Jan24 #MidnightOdyssey #MosaicILAmourEtLArdeur #Olhava #Review #Reviews #RussianMetal #Sacrifice #Shoegaze #TRNA #Unreqvited

#unreqvited released some new material. time to get the full discography.

Current music buy list once spare cash is found:

1. #Batushka - Panihida
2. #Adaestuo - Krew Za Krew
3. #CultOfFire - मृत्यु का तापसी अनुध्यान
4. #Unreqvited - Stars Wept to the Sea
5. #Muka - Sveta Stoka

#notestoself

@Aarkon versuchs mit #unreqvited https://unreqvited.bandcamp.com/album/stars-wept-to-the-sea
bei ellende wollte ich auch mal reinhören. Hast du da eine empfehlung für den einstieg?