Invernoir - The Void And The Unbearable Loss (CD)

melodic death doom metal, BadMoodMan Music / Funere, BadMoodMan Music
539.89 Р
Price in points: 900 points
BMM. 092-20 / FUNERE-09 x
In stock
The debut album by Invernoir featuring members of Italian bands Ars Onirica, Black Therapy and Lykaion. Born out of the desire to resurrect the sound of doom music from the 90s, the project takes the inspiration from the best works by My Dying Bride, Anathema, Katatonia and Paradise Lost. Surprisingly diverse and accurately crafted material by Invernoir burns with the frost of the night wind, tears the soul with longing, just to let the pain shake a listener, thus bringing him back to life. Over and over again while listening to "The Void And The Unbearable Loss". Co-release with Funere.

1 The Void And The Unbearable Loss
2 The Path
3 House Of Debris
4 Suspended Alive
5 Cast Away
6 The Burden
7 At Night
8 The Loneliest

Artist Country:
Album Year:
The Void And The Unbearable Loss
melodic death doom metal
CD Album
Jewel Case
BadMoodMan Music / Funere
Cat No:
BMM. 092-20 / FUNERE-09
Release Year:
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Scream Blast Repeat

Invernoir is a passion project conceived by the members of three Italian metal bands – Ars Onirica, Black Therapy and Lykaion. Their aim is to capture the best parts of My Dying Bride, Paradise Lost, Katatonia and Anathema and package them in 51 minutes of glorious death-doom despair. To be fair, they do a damn fine job of presenting the listener with the type of progressive doom metal that defined a special time in the history of Peaceville Records back in the 1990s. But this is far more than a homage to the forefathers and just as worthy of their blessing.

Mood and contemplation are everything in a melancholy doom album, and this record has it in abundance. Yes, the tempo saunters like a wounded horse falling into a marsh and the distorted guitars are heavier than a bottle of special brew, but the soundscapes are picturesque in their monumental reach and the atmospherics as solemn as a pallbearer. The opening title track is a seven-minute instrumental of slow chord sweeps and keyboard strings that build into a crescendo of ringing power distortion and funereal snare hits. It’s a brave start to an album but works in perfect harmony with ‘The Path’, a song that oozes with metallic crunch and a Gojira-esque outburst of righteous passion. Alessandro Sforz’s black metal histrionics writhe in agony like a fallen soldier removing his opponent’s scabbard from his intestines and pave the way for Lorenzo Carlini to counter his pain with sombre serenades that are just as emotive. Nowhere is this better demonstrated than on ‘House of Debris’ and the excellent, ‘Suspended Alive’. Both tracks showcase the paradoxical emotions of rage and despair, with the latter delivering an Italian soliloquy in the middle eight. Lorenzo Carlini will remind you of Talk, Talk legend, Mark Hollis, but with a Latin tinge to the Germanic pronunciation of his English lyrics.

Doom metal albums often underwhelm in the guitar department. All those slow downstrokes and droning notes can tire the listener, but Invernoir make sure this seldom happens. The opening hook to ‘The Burden’ is a monstrous riff that gives way to a wonderful palm-muted verse and will have you nodding your head and tapping your foot in no time as you imagine yourself walking through the Yorkshire moors in slow motion. Every ringing fifth chord has a countervailing melody higher up the fretboard, much like the interplay between Gregor Mackintosh and Aaron Aedy on a typical Paradise Lost album. You can even swing your head to the rhythms if your mood allows it.

If the album presents many highs among the (deliberate) emotional lows, it also has a few moments of inconsequential plodding. This is not unexpected in a doom metal album, but parts of ‘At Night’ and ‘The Loneliest’ pass over your head like an announcement from a train station loudspeaker. You know what we mean: The next train to arrive at platform 17C is the 09:28 to Cleethorpes… Normally, you switch off once you realise it’s not related to your journey. The band also come close to plagiarising the intro to My Dying Bride’s ‘The Dreadful Hours’ on ‘House of Debris’ including the same rainswept noises in the background. Only a chunky verse riff and glowing vocal harmony stop it from slipping into a tribute song.

This album is a treat if you like your metal introspective and slow, with flashes of light among the dark veil of distortion. It’s just as interesting for those more accustomed to faster tempos and blast beats. The emotions may seep into your system like a burden, but the music doesn’t.

Author: JVB

Born from the desire to revive the fusion of Doom, Death and Gothic Metal sounds of the 90’s taking inspiration from the best albums of bands like My Dying Bride, Anathema, Katatonia and Paradise Lost, Rome, Italy-based project Invernoir is cold and decadence, the anguish due to the awareness of not having a goal, the lack of answers, apathy and pain. Comprised of Alessandro Sforza (Ars Onirica) on harsh vocals, guitars, drum programming and cymbals, Lorenzo Carlini (Black Therapy) on clean vocals and guitars, and Valerio Lippera (Lykaion) on bass, Invernoir have been making a name for themselves since their inception in 2016, having already played alongside amazing bands such as Candlemass, Ahab, Skepticism, Shores of Null, Naga and Weeping Silence, and now two years after their debut four-track EP Mourn this dark and talented Italian triumvirate (now a quartet with the recent addition of drummer Flavio Castagnoli to their lineup, by the way) returns with the bold and atmospheric The Void and the Unbearable Loss, not only their first ever full-length effort, but an album that will surely carve the word “doom” in the blackened hearts of fans of the genre from all over the world.

It’s a grey, rainy and bleak day, the perfect ambience for Invernoir to captivate our senses with the title-track The Void and The Unbearable Loss, slowly growing in intensity until their sluggish beats and piercing guitars permeate the air for our total delight, followed by The Path, sounding less doomed and a lot more inclined to Gothic Metal than its predecessor. Furthermore, Alessandro and Lorenzo are once again precise with their riffs while alternating between their anguished roars and gloomy clean vocals, while Valerio blasts his bass with tons of groove. Then get ready for a somber and heavy-as-hell hybrid of traditional Doom Metal with Blackened Doom and Gothic Metal entitled House of Debris, perfect for breaking your neck headbanging in solitude while Alessandro screams like a demonic entity. And more melancholy in the form of first-class Doom Metal is offered by Invernoir in Suspended Alive, showcasing truly deep and obscure lyrics (“The purest form of pain / I saw it before it was born / The purest form of pain / A frame / Of what it was / And yet not”), smashing drums and endless agony flowing from their riffs.

Investing in a much more atmospheric and melodious sound, with Lorenzo taking the lead with his passionate clean vocals, Cast Away is another dense and introspective fusion of Melodic Doom Metal and Gothic Rock by this talented Italian trio, and they continue their downward spiral into madness and obscurity with the hammering Doom Metal feast titled The Burden, displaying a great job done by all three band members with their stringed weapons, therefore offering both Alessandro and Lorenzo all they need to sing and gnarl in anger. After such dense sonority, a strident riff kicks off the brutal, slow-paced At Night, presenting the band’s most damned side and reminding me of some of the creations by the iconic Paradise Lost and My Dying Bride in what’s probably their rawest and most visceral of all songs, before they come ripping with one more of their Stygian voyages through the realms of gothic and doom in The Loneliest, where Lorenzo is spot-on with his clean vocals by generating an amazing paradox with the harsh growls by Alessandro, always supported by the minimalist, thunderous bass by Valerio. Put differently, they couldn’t have ended the album in a more beautiful way.

This fantastic and somber gem of Italian gothic and doom can be fully appreciated on YouTube and on Spotify, and if you’re curious to know more about the guys from Invernoir, their music and their plans for the future you can start following them on Facebook and on Instagram, and of course purchase The Void and the Unbearable Loss from their own BandCamp page, from Funere’s BandCamp page or from the BadMoodMan Music’s BandCamp page, as well as from Apple Music, Amazon and Discogs. As aforementioned, the new album by Invernoir is highly recommended for lovers of the melancholy blasted by the titans of the genre like My Dying Bride and Katatonia, proving once again why Italy has become (and will always be) a reference in underground doom.

Author: Gustavo Scuderi
Metal Temple

INVERNOIR is a Gothic/Doom Metal band formed in Rome, Italy, in 2018. “The Void and the Unbearable Loss” is the band’s debut album, and contains eight tracks. The title track kicks off the album. It opens with the soft sound of rain, and clean, depressing guitar notes. About half way in, a distorted guitar riff drops, heavy and hard, but still with that sense of sadness. The drums work into a beat, and guttural vocals follow suit. “The Path” opens with distorted guitars and a little quicker pace. Vocals are harsh at first, then clean in the chorus. The melancholy nature of the music is fully displayed. It makes you ache in ways you have never experienced before. It finished with what sounds like violin notes, and clean vocals of despair.

“House of Debris” is just a little shorter. It begins with some doleful guitar notes and some background chanting. The harsh vocals lament…tearing you apart. The clean vocals and screams are equally as effective. I like the trade-off between the two, as well as the vocal harmonies. Around the half-way mark, it drops to just some solitary clean guitars and vocals, finishing with anguished screams. “Suspended Alive” opens with more dreary rain falling and doleful clean guitars. Harsh vocals and distorted guitars drop, and it’s a gut-wrenching affair. Some clean vocals mix in with the harsh vocals, creating layers of depression. A key change along with some whispered vocals takes the song in a new direction.

“Cast Away” begins with this charming melody in the guitars, giving you a glimmer of hope. The clean vocals are but a dream, floating in front of you, but out of your reach. The harsh vocals quickly dash any hopes you may have had. Dual clean vocals and lead guitar notes really hit you hard…they are so emotional. “The Burden” opens with a slow groove, and low, distorted guitar notes. The harsh vocals tear your soul into pieces. But, the clean vocals add a little reprieve from the hardened nature of the track. “At Night” begins with a full, rich sound, created by guitar layers and a pounding bass, rhythm and drum section. As it moves forward, the Doom elements become stronger, leaving you with a profound senses of loss. The clean vocals and guitars in the end support this great burden.

“The Loneliest” closes the album. Some clean guitars lead to harmonized vocals. Harsh vocals and distorted guitars join the fold and absolutely wipe out any of the mellow sound in the opening, which returns in the end. Overall, this was an excellent album that took Doom metal to new dimensions with the addition of clean vocals as well as some melodic guitars. When you think of Doom, you think of very long songs and slow, lumbering tracks with guttural vocals that just gets old after a while. This was a fresh take on the genre, without sacrificing that totally dejected feeling you get from the music. Highly recommend.

Songwriting: 9
Musicianship: 8
Memorability: 8
Production: 8

Author: Dave "That Metal Guy" Campbell

Das Jahr 2020 bietet gen Ende einiges an vielversprechenden Alben im Doom Metal Bereich und da ist uns auch eine noch junge Band ins Postfach gekommen. Invernoir kommen aus Rom und bestehen aus Mitgliedern von nicht allzu unbekannten Bands wie Ars Orinica und Black Therapy. Vier Jahre nach der Bandgründung 2016 und zwei Jahre nach der ersten EP Mourn veröffentlichen die Italiener nun ihr full length Debütalbum.

Sehr Langer Aufbau
Beim eröffnenden Titeltrack The Void And The Unbreakable Loss handelt es sich um einen sieben minütigen Instrumental-Track. Nach Regenrauschen baut man den Song mit unverzerrten Gitarren, diese mit Streichern und Doom Gewalze mit melodischem Riffing auf. Wie zum Beispiel beim letzten Output finde ich, dass ein sehr langgezogener Aufbau definitiv seinen Charme hat.

The Path startet mit langsamen Melodic-Death Metal und hat auch die ersten Vocals. Dabei wird sowohl ein recht rauer Growl und clean Vocals verwendet, wobei ich da im Opener irgendwie an die fränkischen Freitod oder Träumen von Aurora als genrefremde Bands erinnert werde.
In den Gitarrenspuren werden eher Erinnerungen an Decembre Noir wach. Im Song gibt es noch einen schönen unverzerrten Part mit Streichern.

House Of Debris startet ebenfalls melodisch und bringt vermehrt Doom Metal in den Vordergrund. In einigen Keif Parts kommen auch einige Black Metal Elemente durch.
Mit Suspended Alive folgt der wohl hitähnlichste Song, weswegen er wohl auch schon als Vorauskoppelung mit einem Video HIER zu finden ist.

Kontraste beleben das Album
Cast Away startet mit der Kombination aus unverzerrter und verzerrter Gitarre mit dezentem Drumplay und mündet in eine cleane Strophe, die bei mir Assoziationen zu Alcest auslöst. Der Refrain im Anschluss wirkt im Kontrast zur Strophe schön kräftig und die Eröffnungszeile Forever Cast Away bleibt hängen. Gegen Ende des Songs zieht die Band schon beinahe das Tempo an. Cast Away ist auf dem Album mein Favorit.

Der Auftakt von The Burden ist schon beinahe groovig und arbeitet mit dem Kontrast aus Growlstrophe und cleanem Refrain, wobei man im Refrain auf Hooklines wie im Metalcore bewusst oder unbewusst verzichtet. At Night startet mit einer Solo E-Gitarre und hat eine kräftige Strophe bekommen. Ebenso kann der Song mit einem langen unverzerrten Ausklingen mit Streichern, Gitarre und Erzählstimme überzeugen.
Der finale The Loneliest ist das melancholischste Lied auf dem Album. Der Song baut sich wie der Opener immer mehr auf und kann auch einige verträumte Momente vorweisen.

Invernoirs Debütalbum sollte die Band in den Fokus vieler Melodic Doom/Death Fans gespielt haben. Die Band hat durchaus gutes Riffing und Vocals. Einzig kommen mir einige Momente zu inflationär eingesetzt vor: So hat die Mehrheit der Songs einen Part mit unverzerrter Gitarre und Streichern. Diese sind echt alles andere als schlecht, aber aus meiner Sicht zu oft.

Author: Lennart

“The Void and the Unbearable Loss” è l’album di debutto degli Invernoir, formazione romana che comprende membri di Ars Onirica, Black Therapy e Lykaion. L’obiettivo dichiarato era quello di ripercorrere strade doom metal anni Novanta, recuperando in parte il sound di band come i Katatonia e i Paradise Lost, non dimenticando la tradizione britannica (Anathema e My Dying Bride). Incorporando nel sound anche soluzioni più orecchiabili, che mai snaturano l’anima della proposta, gli Invernoir approdano in un melodic doom metal che si colora di death e si contraddistingue per un umore scuro, figlio di atmosfere sempre malinconiche e decadenti. Al netto di qualche passaggio che tende a somigliare troppo a qualcosa di già sentito, gli otto brani di “The Void and the Unbearable Loss” scorrono con una certa fluidità in virtù della loro compattezza e della scelta di non inseguire manierismi spesso non necessari. Il growl, unito a una produzione parecchio curata, restituisce sensazioni positive in termini di visione d’insieme, esaltata anche da alcuni momenti come la titletrack, “The Burden” e la conclusiva “The Loneliest”: se le prime due sono segnate da una certa potenza e toni fortemente drammatici, l’ultima si evolve da chitarra acustica e synth per regalare una cavalcata più che mai adatta alla chiusura dell’album. “The Void and the Unbearable Loss” ci presenta una band parecchio in forma e con idee chiarissime, ma i margini di crescita sono ancora ampi.

Author: Piergiuseppe Lippolis

Het regent of toch niet? In ieder geval start zo de nieuwe en ook meteen de debuutplaat van het Italiaanse Invernoir. Deze heren komen uit Rome. De Italiaans hoofdstad kent ook wel zijn diepdroevige en druilerige plekken, als ik me goed kan herinneren. De vier heren spelen immers geen al te vrolijke noten op deze plaat, The Void And The Unbearable Loss. Hun stijl wordt omschreven als melodische death/doom metal. De eerste thema’s voelen meer doom dan death aan, dat kan ik je alvast verklappen.

De plaat wordt heel traag, tergend traag zelfs op gang getrokken met het titelnummer. Het duurt een eeuwigheid eer het nummer wat vertrokken lijkt en dan is het duidelijk te horen aan de treurende gitaren dat er op deze plaat heel wat miserie verstopt zit. Het is pas vanaf grofweg minuut acht, in The Path, dat de schurende, raspende vocalen worden bovengehaald. Deze worden ondersteund door cleane zanglijnen met een aangenaam timbre, donker en invoelbaar. Ook de obligatoire putgrunt passeert op het juiste moment, net als de ultra-trage Winter-achtige drumpartijen. Het gebruik van strijkers kerft het verdriet nog wat dieper in je ziel. Al snel geeft deze plaat de indruk dat het kabbelende water, de rivier die vol-gehuild is, niet erg snel stroomt noch veel meanders doorheen het landschap maakt. Het doet me in in het geheel wat aan de jaren ’90 doomscene denken.

Suspended Alive start met de intense regenbui die we al hadden gehoord. De inval van de gitaren sluit de deur en brengt je kortstondig binnen in huis, aan de warme haard niet vergetende dat al de miserie van de wereld wel nog steeds op je schouders rust. Cast Away is een nummer dat start met een trage tokkelende gitaar, de typische vertragende drum en de eerder vermelde cleane zanglijnen. Het geeft alzo een wat andere, weliswaar nog steeds, donkere kleur aan de plaat.
Goed debuut, wel niet meer dan dat. Er zit wat eigenheid in deze band, zeker de samenwerking tussen de brute vocalen en de cleane zanglijnen, die goed worden uitgevoerd, is een sterk element dat op toekomstige platen best verder wordt uitgediept. Verder lijkt er echter weinig nieuws aan de rood-oranje horizon.

Author: Joris Meeuwissen

Spalio 9 d. pasirodė italų melodic death/doom metal grupės "Invernoir" debiutinis albumas "The Void And The Unbearable Loss". Jame grupė stengiasi atkurti 90-ųjų dvasią bei šlovingus "My Dying Bride", "Anathema" ar "Katatonia" laikus. 8 kompozicijos, kurios "degina tarsi nakties vėjo speigas" bei kuriuose girdime tiek švarų vokalą, tiek ir growlą.
Objektyvią nuomonę apie darbą galite susidaryti perklausę finalinę kompoziciją "The Loneliest" arba diską pristatantį singlą "Suspended Alive".

La tradizione gothic-doom romana ha da qualche tempo trovato un altro alfiere negli Invernoir, quartetto in cui militano membri di Lykaion, Ars Onirica e Black Therapy, fra gli altri. Gli otto brani di cui si compone “The Void and the Unbearable Loss”, album che vede il debutto del gruppo capitolino per la sempre affidabile etichetta russa Solitude Productions/BadMoonMan Music, si inseriscono proprio nel quadro di una musica che tende ad evocare immagini torbide e dalle sfumature malinconiche, attraverso architetture che spesso prendono le mosse dalla dimensione acustica per approdare a robuste partiture doom-death metal. Ascoltando il disco, risulta evidente come gli Invernoir siano fan di questo genere di sonorità da parecchi anni: la materia, variopinta e suggestiva, viene trattata con sapienza e condotta attraverso una vasta gamma di registri che raccolgono le caratteristiche salienti della vecchia scuola britannica (primi Anathema e My Dying Bride soprattutto), così come i toni ipnotici e decadenti dei Katatonia degli anni Novanta e alcune folate più orecchiabili, vicine per indole ai connazionali Novembre. Il gruppo, insomma, raccoglie qui anni di ascolti ‘da fan’, concentrandoli e distillandoli con abilità in un album scorrevole e dotato di una visione unitaria. Gli Invernoir ora puntano a certe rarefazioni poetiche, ora si affidano a suoni cupi e fortemente drammatici, in una progressione seriale che diventa particolarmente vivace nei brani più concisi, nei quali i ragazzi dimostrano di essere abili tessitori di suoni senza eccedere in ampollosità. Certo, alcuni omaggi un po’ vistosi (gli arpeggi rimandano spesso ad un “The Dreadful Hours”) dimostrano come la band tenda a mantenersi entro i limiti di formule già sentite, senza rendersi protagonista di chissà quali slanci innovativi, tuttavia buona parte di queste canzoni – costruite sul vagare e divagare coi pensieri, sul guardarsi attorno e sul riflettere – non dovrebbero faticare a destare l’interesse di coloro che hanno davvero a cuore questo particolare filone musicale. La sensibilità compositiva alla base di “The Void…” è quella di un gruppo competente che in certi casi sa arrivare anche a picchi di grande finezza.

Author: Luca Pessina
Wonderbox Metal

This is the debut album from Invernoir, an Italian doom metal band.

Taking influence from old-school doom/Gothic metal via the likes of My Dying Bride, Anathema, Katatonia, and Paradise Lost, The Void and the Unbearable Loss contains 51 minutes of music crafted in this venerable style.

The songs are replete with rich melodies that just drip emotive heartache and woe. Synths and strings enrich proceedings even further, and both are well-considered and performed. Different paces and dynamics are used in the music, from slow atmospheric soundscapes to mid-paced chuggery. I particularly like the rhythm guitars on this release, and when combined with the mournful melodies it makes for an enjoyable listen.

The band know their source material well, and manage to easily invoke the 90s doom era. Listening to The Void and the Unbearable Loss is almost like listening to a time capsule from decades past, only a more polished version due to having taken advantage of modern technology; this is a well-recorded slab of misery, and Invernoir sound good.

I enjoyed my time with The Void and the Unbearable Loss very much. Although a band I would have to be in a certain mood for to return to often, I still recommend Invernoir for any fan of old-school doom metal. Check this out.

Metal Wave

Il progetto Invernoir debutta con “The Void And The Unbearable Loss”, un disco che si ispira a band quali Katatonia, Paradise Lost, Anthema e via discorrendo per dare luogo al proprio doom death metal melodico. Il clima che si respira nel corso dell’ascolto del lavoro è particolarmente triste e malinconico ma allo stesso tempo eccelso nei contenuti. La band nota dopo nota, riesce a suggestionare non poco l’ascoltatore con le sue melodie quasi surreali, abbandonate a se stesse e dannatamente tristi che si propagano per una buona parte dell’intero lavoro; ottima la produzione del lavoro in grado di condensare al meglio tutti i contenuti dell’album pronto ad offrire le più diversificate sensazioni. Le andature si trascinano in un contesto di base doom ma inebriato da momenti di maggiore intensità ancor più intensificati anche dal potente growl. Insomma un lavoro che di base si fa sentire e suscita emozioni senza minimamente mai intaccarne la portata. La lunga apertura riservataci da “The Void And The Unbearable Loss” rappresenta in sostanza il significato dell’intero lavoro, un brano lento intenso e ricco di melodie; appena diverso e di maggiore impulsività è invece “The Path” brano determinato nei contenuti ma che non raggiunge il livello della successiva “House Of Debris” forte dei micidiali ritornelli fatti dalle chitarre che si ripercuotono sulla mente al pari del ritornello cantato questa volta in uno scream espressivo non poco; segue poi “Suspended Alive”, per il quale la band offre un nuovo passaggio acustico strumentale in apertura, profondo, che ben presto genera un death doom metal moderato di ingente impatto sonoro; altro brano da ricordare è il potente “The Burden”, lento e micidiale non privo di pregiate melodie e forte di uno scream acerbo e diretto; la miglior tradizione dei katatonia emerge forse con “At Night” da cui la band offre al meglio la propria interpretazione con un brano dai contenuti strepitosi; si giunge alla conclusiva “The Loneliest” aperta da una splendida chitarra acustica e da un successivo inebriarsi di note offerte dal synth che danno poi luogo ad un altro incredibile quanto emozionante brano tutto da ascoltare. Un disco di elevato spessore, difficile da dimenticare.

Author: Wolverine
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