Review
Low frequencies rumble through dense, muddy air while guitars hiss and creak over airless, anti-groove percussion. Jérémie Bézier's production traps the instrumentation inside a wet, claustrophobic vault: cavernous rasps are reduced to dry, sibilant whispers right against the ear, while background synths moan like wind pushing through concrete cracks.
Picking up the structural thread of the Belgian outfit's 2014 output, the sequencing operates on a disorientation tactic. Tracks like "Words To Wind" and "When the Whole Arrives" stretch out as murky, sludgy soundscapes where dissonant guitar shapes coil around thudding basslines without resolving into standard riffing or rhythmic release. Abrupt cuts and sudden fades sever the momentum mid-phrase, locking the entire running time into a cyclical loop.
What emerges is an exercise in sustained, oppressive atmosphere. By smearing the boundaries between darkwave, sludge, and avant-garde extreme metal, the record relies on spatial friction—hissing breath, mechanical drone, and suffocating weight—to construct a relentlessly bleak sonic corridor.
