Дебютный альбом Invernoir, в который вошли музыканты таких итальянских групп, как Ars Onirica, Black Therapy и Lykaion. Рожденный из желания возродить звуки doom-музыки 90-х годов, проект черпал вдохновение в лучших работах таких групп, как My Dying Bride, Anathema, Katatonia и Paradise Lost.
Удивительно разнообразный и крепко сделанный материал Invernoir обжигает холодом ночного ветра, разрывает душу тоской, всё для того, чтобы боль встряхнула слушателя, возвращая к жизни. Снова и снова – при прослушивании «The Void And The Unbearable Loss».
Совместное издание с Funere.
Треклист:
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
Артист:
Invernoir
Страна артиста:
Italy
Год альбома:
2020
Название:
The Void And The Unbearable Loss
Стиль:
melodic death doom metal
Формат:
Compact Disk
Тип:
CD
Упаковка:
Jewel Case
Лейбл:
BadMoodMan Music / Funere
Кат. номер:
BMM. 092-20 / FUNERE-09
Год издания:
2020
Штрих-код:
4627080611825
Страна-производитель:
Russia
Review
Soil Chronicles
7/10
02.05.2021
D’un style assez générique, ce premier album (faisant suite à l’EP « Mourn » de 2018) du trio italien Invernoir reste tout de même assez noir, tout en gardant une touche mélodique.
La formation créée en 2016 est composée de Valerio Lippera (basse), Alessandro Sforza (guitare, chant growl), tous deux issus d’Ars Onirica, et Lorenzo Carlini (guitare, chant clair, batterie programmée) de Shores Of Null. Depuis Flavio Castagnelli, également d’Ars Onirica a rejoint le groupe en tant que batteur.
Pour les amateurs du style qui arpentent les scènes gothiques, il est parfait si l’on se réfère à ce genre de sons qui se fondent dans le décor. Personnellement, j’aurai aimée être surprise et trouver de l’inattendu. Même si l album est beau et bien construit, il est pour moi trop lisse. Je ressens tout de même l’ambiance batcave dans cet album : un petit coup de retour en arrière, à l’époque où les gothiques trainaient dans l’air du temps, dans les années 90 où le son avait cette idée de brouillard épais.
L’album quant à lui est assez dynamique : pas de tristesse ni d’apathie. « House Of Debris » suivi du « Suspended Alive » font une bonne entrée en matière. Un album a écouter tranquillement en buvant une bonne bière.
Author: Eireen Dole
Soil Chronicles
7/10
02.05.2021
D’un style assez générique, ce premier album (faisant suite à l’EP « Mourn » de 2018) du trio italien Invernoir reste tout de même assez noir, tout en gardant une touche mélodique.
La formation créée en 2016 est composée de Valerio Lippera (basse), Alessandro Sforza (guitare, chant growl), tous deux issus d’Ars Onirica, et Lorenzo Carlini (guitare, chant clair, batterie programmée) de Shores Of Null. Depuis Flavio Castagnelli, également d’Ars Onirica a rejoint le groupe en tant que batteur.
Pour les amateurs du style qui arpentent les scènes gothiques, il est parfait si l’on se réfère à ce genre de sons qui se fondent dans le décor. Personnellement, j’aurai aimée être surprise et trouver de l’inattendu. Même si l album est beau et bien construit, il est pour moi trop lisse. Je ressens tout de même l’ambiance batcave dans cet album : un petit coup de retour en arrière, à l’époque où les gothiques trainaient dans l’air du temps, dans les années 90 où le son avait cette idée de brouillard épais.
L’album quant à lui est assez dynamique : pas de tristesse ni d’apathie. « House Of Debris » suivi du « Suspended Alive » font une bonne entrée en matière. Un album a écouter tranquillement en buvant une bonne bière.
Author: Eireen Dole
Review
VM Underground
27.08.2021
Hailing from Rome, Italy’s capital city, Invernoir is quite a young band that includes current and former members of e.g. Ars Onirica and Black Therapy. As a quintet, they independently released a three-track EP in 2018 (actually three tracks and an outro, to be honest), aptly titled Mourn – a title that surely points the musical direction where we have to define this band. After a few line-up changes, the band decided to enter the studio in order to record their debut full-length. Line-up for this recording session was: Valerio Lippera (bass guitars), main composer Alessandro Sforza (screams and grunts, lead and rhythm guitars, drum programming and additional percussion) and Lorenzo Carlini (guitars, clean voices and drum programming) [drum programming, for their former drummer left right before entering the studio, and a new one wasn’t recruited yet at that moment]. The trio recorded their debut album at the Blue Ocean Recording Studio (also in Rome), with Lorenzo taking care of the engineering duties.
Eight newly recorded tracks got gathered under the mighty moniker of The Void And The Unbearable Loss. Eventually, Invernoir signed to Armenia’s Funere (a label run by Jane Orpheus, the partner of Satanath Records’ Aleksey) and to BadMoodMan Music, a division of the Solitude Prod family. This partnership took care of a physical edition of 500 copies, being a jewel-case compact disc, which comes with an eight-page booklet. That one includes the lyrics -mainly in English, with Italian excerpts- and nice artwork by Adhiira Art. One word about the texts: they are partly written by Alessandro, and partly by Rome In Monochrome / Aurora Nowhere’s Valerio Granieri [the band’s new drummer, Flavio Castagnoli, is part of the Rome In Monochrome line-up too, FYI]. This guy, Valerio Granieri, also performs guest vocals on one track (The Burden).
So, The Void And The Unbearable Loss (great title, once again giving a clear hint to the aural approach) consists of eight average-lengthy pieces (in between five and seven minutes), having a total running time of about fifty-two minutes. They say their inspirations are based on the likes of Anathema, Katatonia, My Dying Bride, you know, and seen the album’s title, I think that might be quite appropriate. Well, the album opens with the title track, and this song leaves no doubt: this might be some tribute to the somewhat extremer Doom scene from the Nineties for sure. The first half of the track is constructed around an acoustic instrumental melody, with different layers, a Shoegaze / Post-Rock attitude when talking about the slow-paced and integer guitar-work, and dreamlike, even emotional synth-lines, including the sound of rain falling down on our physical shape (oops, I’m getting poetic). The second half shows the heavier side of Invernoir’s raison d’être: an intriguing and slowly performed guitar lead, supported by great drum-work (I almost can’t believe that this is drum programming, for it sounds so naturally (a)live), a monolithic rhythm-string section, and in addition some captivating leads (hypnotic stuff), dual guitar-work and mesmerizing synths. There are several layers, which are organically put together, and this makes the opening sequence of The Void And The Unbearable Loss a promising thing.
Will it continue this way, after that auspicious introduction? Well, not at all if you’re looking for something totally renewing. Why? Well, a definition like ‘originality’ does not fit in here. So, if you’re looking for a band that does reinvent the scene, you better stop reading.
But… What if the lack of originality is totally inferior to quality, persuasion and a satisfying listening experience? Well, that’s exactly what’s going on right here. Invernoir indeed lack of invention or progression, but damn, they do pay tribute to the (old styled) Doom-Death scene with conviction and craftmanship. The material comes with all necessary ingredients, going for instrumentation and vocals, tempo, concept and structure. I won’t go to deep into all of these matters, yet a brief description might be helpful.
Instrumentation: the known package: electric lead and rhythm guitars, with songs generally based on tremolo leads (once in a while purely hypnotic) especially, and firmly supported by well-balanced strings; acoustic and semi-acoustic chapters, as intro or intermezzo; drums and percussion with typifying patterns (as said: almost unbelievable that we aren’t talking about live-recorded drums); keyboards adding atmospheres of grief, wonder, introspection and intoxication; and even violin (performed by some Margherita Musto, in the track The Path).
Vocals: especially a balance of clean chanting, deep growling (sometimes pushing the whole into a funereal direction) and angry screams; also spoken words, whispers, you know, the expected, the needful, the basic elements that characterise this stuff.
Tempo: of course it’s slow. It’s very slow, but because of the guitar-oriented basement, it’s never dull or monotonous at all. There are several accurately performed changes withing the speed, but it remains between the extremes of ‘just slow’ and ‘very slow’. Yet still, one won’t miss the lack of faster outbursts, for the variety keeps this listening experience interesting the whole of the time.
This works well, of course, in combination with the diversification in the songs’ structures. Do not expect sudden breaks or progressive hooks, yet many smooth changes within the construction of each single epic. The equilibrium of different moods works surprisingly well, for the experience maintains a continuously thrilling excitement; no, it’s not ‘sensational’ as in ‘shudder’ or ‘ebullience’, yet rather causing shivering and rigorous sensations and emotions.
Concept: this goes smoothly hand in hand with the former aspects, of course. Pain and loss, nightly visions, desperation, it’s all naturally embedded within the dramatic ballads. The trio behind this album was able to create a well-known concept with predictable elements and themes, yet at the same time with giving it an own face, an own twist. The content of the lyrics are not renewing, yet the play-of-words is of a strong level for sure: effective, even laborious, and apposite.
As you might understand, and as sort of mentioned before, the lack of being original is of no importance, even otiose. Reason is this band’s ability to write and perform fine tunes that pay homage to the origins of the scene for sure. In combination with the very professional sound quality, the result might appeal to all fans of, let’s say, Swallow The Sun, Draconian, Katatonia, Officium Triste, Anathema, Woods Of Ypres, Doom:vs, Saturnus and the likes…
Author: Ivan “Concreteweb” Tibos
VM Underground
27.08.2021
Hailing from Rome, Italy’s capital city, Invernoir is quite a young band that includes current and former members of e.g. Ars Onirica and Black Therapy. As a quintet, they independently released a three-track EP in 2018 (actually three tracks and an outro, to be honest), aptly titled Mourn – a title that surely points the musical direction where we have to define this band. After a few line-up changes, the band decided to enter the studio in order to record their debut full-length. Line-up for this recording session was: Valerio Lippera (bass guitars), main composer Alessandro Sforza (screams and grunts, lead and rhythm guitars, drum programming and additional percussion) and Lorenzo Carlini (guitars, clean voices and drum programming) [drum programming, for their former drummer left right before entering the studio, and a new one wasn’t recruited yet at that moment]. The trio recorded their debut album at the Blue Ocean Recording Studio (also in Rome), with Lorenzo taking care of the engineering duties.
Eight newly recorded tracks got gathered under the mighty moniker of The Void And The Unbearable Loss. Eventually, Invernoir signed to Armenia’s Funere (a label run by Jane Orpheus, the partner of Satanath Records’ Aleksey) and to BadMoodMan Music, a division of the Solitude Prod family. This partnership took care of a physical edition of 500 copies, being a jewel-case compact disc, which comes with an eight-page booklet. That one includes the lyrics -mainly in English, with Italian excerpts- and nice artwork by Adhiira Art. One word about the texts: they are partly written by Alessandro, and partly by Rome In Monochrome / Aurora Nowhere’s Valerio Granieri [the band’s new drummer, Flavio Castagnoli, is part of the Rome In Monochrome line-up too, FYI]. This guy, Valerio Granieri, also performs guest vocals on one track (The Burden).
So, The Void And The Unbearable Loss (great title, once again giving a clear hint to the aural approach) consists of eight average-lengthy pieces (in between five and seven minutes), having a total running time of about fifty-two minutes. They say their inspirations are based on the likes of Anathema, Katatonia, My Dying Bride, you know, and seen the album’s title, I think that might be quite appropriate. Well, the album opens with the title track, and this song leaves no doubt: this might be some tribute to the somewhat extremer Doom scene from the Nineties for sure. The first half of the track is constructed around an acoustic instrumental melody, with different layers, a Shoegaze / Post-Rock attitude when talking about the slow-paced and integer guitar-work, and dreamlike, even emotional synth-lines, including the sound of rain falling down on our physical shape (oops, I’m getting poetic). The second half shows the heavier side of Invernoir’s raison d’être: an intriguing and slowly performed guitar lead, supported by great drum-work (I almost can’t believe that this is drum programming, for it sounds so naturally (a)live), a monolithic rhythm-string section, and in addition some captivating leads (hypnotic stuff), dual guitar-work and mesmerizing synths. There are several layers, which are organically put together, and this makes the opening sequence of The Void And The Unbearable Loss a promising thing.
Will it continue this way, after that auspicious introduction? Well, not at all if you’re looking for something totally renewing. Why? Well, a definition like ‘originality’ does not fit in here. So, if you’re looking for a band that does reinvent the scene, you better stop reading.
But… What if the lack of originality is totally inferior to quality, persuasion and a satisfying listening experience? Well, that’s exactly what’s going on right here. Invernoir indeed lack of invention or progression, but damn, they do pay tribute to the (old styled) Doom-Death scene with conviction and craftmanship. The material comes with all necessary ingredients, going for instrumentation and vocals, tempo, concept and structure. I won’t go to deep into all of these matters, yet a brief description might be helpful.
Instrumentation: the known package: electric lead and rhythm guitars, with songs generally based on tremolo leads (once in a while purely hypnotic) especially, and firmly supported by well-balanced strings; acoustic and semi-acoustic chapters, as intro or intermezzo; drums and percussion with typifying patterns (as said: almost unbelievable that we aren’t talking about live-recorded drums); keyboards adding atmospheres of grief, wonder, introspection and intoxication; and even violin (performed by some Margherita Musto, in the track The Path).
Vocals: especially a balance of clean chanting, deep growling (sometimes pushing the whole into a funereal direction) and angry screams; also spoken words, whispers, you know, the expected, the needful, the basic elements that characterise this stuff.
Tempo: of course it’s slow. It’s very slow, but because of the guitar-oriented basement, it’s never dull or monotonous at all. There are several accurately performed changes withing the speed, but it remains between the extremes of ‘just slow’ and ‘very slow’. Yet still, one won’t miss the lack of faster outbursts, for the variety keeps this listening experience interesting the whole of the time.
This works well, of course, in combination with the diversification in the songs’ structures. Do not expect sudden breaks or progressive hooks, yet many smooth changes within the construction of each single epic. The equilibrium of different moods works surprisingly well, for the experience maintains a continuously thrilling excitement; no, it’s not ‘sensational’ as in ‘shudder’ or ‘ebullience’, yet rather causing shivering and rigorous sensations and emotions.
Concept: this goes smoothly hand in hand with the former aspects, of course. Pain and loss, nightly visions, desperation, it’s all naturally embedded within the dramatic ballads. The trio behind this album was able to create a well-known concept with predictable elements and themes, yet at the same time with giving it an own face, an own twist. The content of the lyrics are not renewing, yet the play-of-words is of a strong level for sure: effective, even laborious, and apposite.
As you might understand, and as sort of mentioned before, the lack of being original is of no importance, even otiose. Reason is this band’s ability to write and perform fine tunes that pay homage to the origins of the scene for sure. In combination with the very professional sound quality, the result might appeal to all fans of, let’s say, Swallow The Sun, Draconian, Katatonia, Officium Triste, Anathema, Woods Of Ypres, Doom:vs, Saturnus and the likes…
Author: Ivan “Concreteweb” Tibos
Review
Diario de un Metalhead
10.02.2021
Otra banda extrema italiana que me llega desde Rusia vía Solitude Productions. “The Void And The Unbearable Loss”, ha sido editado por los sellos BadMoonMan Music y Funere en edición limitada de 500 copias. Es el nuevo y segundo trabajo de INVERNOIR, tras el EP debut “Mourn” de 2018.
Ocho temas y algo más de cincuenta minutos de Doom Metal con tintes góticos es lo que nos ofrece este combo de Roma. Música muy oscura pero a la vez muy melódica, lo que hace que el disco entre bien.
“The Void And The Unbearable Loss” es el corte instrumental que da título al álbum y que sirve de obertura a la obra. A partir de ahí, con “The Path” comienza la exhibición musical de los italianos, que nos hacen llegar sus letras con todo tipo de voces. Guturales, limpias, scream, growll, todo tiene cabida en su música. Una música que acompaña a unas letras también oscuras, tristes, donde rinden pleitesía a las emociones. La soledad, el frío, la apatía, la pena, el miedo, la noche ... son los argumentos de las líricas de este disco.
De entre todos los temas me quedaría con precisamente “The Path”. Y es que en ella colabora Margherita Musto al violín, y la entrada de ese sonido convierte al corte en algo especial.
No es la única colaboración del álbum. Valerio Granieri aparece en los créditos como corista en casi todas las canciones, aportando además la voz solista en “The Burden” y siendo el autor de hasta cinco de los temas. Más que una colaboración casi podríamos decir que es el cuarto hombre de la banda.
El ambiente triste propio de uno de esos días lluviosos del norte en los que no ves parar jamás el agua como en el momento de escribir estas letras, es lo suyo. De hecho el ruido de la lluvia abre en “Suspended Alive”, una buena muestra de lo que los italianos ofrecen. Todo a ritmo pausado, estirando los riffs, ralentizando los solos y sumando alguna pequeña instrumentación de apoyo. Las baterías son programadas, pero sin duda el trabajo es impecable en ese sentido. Hay momentos en los que dirías que no lo son. Sobresaliente trabajo de Alessandro Sforza.
Las atmósferas son tremendamente melodiosas y eso es lo que hace que el disco sea especial, fácil de escuchar y una excelente compañía para algunos momentos del día. Solo en "The Burden" -donde hay parte de la letra en italiano- elevan el tono en lo gutural un poco más de lo normal y parecen algo más duros. El resto no se sale de madre en ningún momento.
Sin duda un muy buen disco y que agradezco haya pasado a formar parte de mi colección. La verdad que no sé como pude estar tantos años pasando del Doom. No es que ahora me pase el día escuchándolo, porque estar metido en Diario de un Metalhead no me lo permite, pero cada vez disfruto más de este estilo.
Author: Larry Runner
Diario de un Metalhead
10.02.2021
Otra banda extrema italiana que me llega desde Rusia vía Solitude Productions. “The Void And The Unbearable Loss”, ha sido editado por los sellos BadMoonMan Music y Funere en edición limitada de 500 copias. Es el nuevo y segundo trabajo de INVERNOIR, tras el EP debut “Mourn” de 2018.
Ocho temas y algo más de cincuenta minutos de Doom Metal con tintes góticos es lo que nos ofrece este combo de Roma. Música muy oscura pero a la vez muy melódica, lo que hace que el disco entre bien.
“The Void And The Unbearable Loss” es el corte instrumental que da título al álbum y que sirve de obertura a la obra. A partir de ahí, con “The Path” comienza la exhibición musical de los italianos, que nos hacen llegar sus letras con todo tipo de voces. Guturales, limpias, scream, growll, todo tiene cabida en su música. Una música que acompaña a unas letras también oscuras, tristes, donde rinden pleitesía a las emociones. La soledad, el frío, la apatía, la pena, el miedo, la noche ... son los argumentos de las líricas de este disco.
De entre todos los temas me quedaría con precisamente “The Path”. Y es que en ella colabora Margherita Musto al violín, y la entrada de ese sonido convierte al corte en algo especial.
No es la única colaboración del álbum. Valerio Granieri aparece en los créditos como corista en casi todas las canciones, aportando además la voz solista en “The Burden” y siendo el autor de hasta cinco de los temas. Más que una colaboración casi podríamos decir que es el cuarto hombre de la banda.
El ambiente triste propio de uno de esos días lluviosos del norte en los que no ves parar jamás el agua como en el momento de escribir estas letras, es lo suyo. De hecho el ruido de la lluvia abre en “Suspended Alive”, una buena muestra de lo que los italianos ofrecen. Todo a ritmo pausado, estirando los riffs, ralentizando los solos y sumando alguna pequeña instrumentación de apoyo. Las baterías son programadas, pero sin duda el trabajo es impecable en ese sentido. Hay momentos en los que dirías que no lo son. Sobresaliente trabajo de Alessandro Sforza.
Las atmósferas son tremendamente melodiosas y eso es lo que hace que el disco sea especial, fácil de escuchar y una excelente compañía para algunos momentos del día. Solo en "The Burden" -donde hay parte de la letra en italiano- elevan el tono en lo gutural un poco más de lo normal y parecen algo más duros. El resto no se sale de madre en ningún momento.
Sin duda un muy buen disco y que agradezco haya pasado a formar parte de mi colección. La verdad que no sé como pude estar tantos años pasando del Doom. No es que ahora me pase el día escuchándolo, porque estar metido en Diario de un Metalhead no me lo permite, pero cada vez disfruto más de este estilo.
Author: Larry Runner
Review
Scream Blast Repeat
7/10
15.12.2020
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
Scream Blast Repeat
7/10
15.12.2020
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
Review
THE HEADBANGING MOOSE
3.5/5
27.10.2020
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
THE HEADBANGING MOOSE
3.5/5
27.10.2020
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
Review
Metal Temple
8/10
28.10.2020
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
Metal Temple
8/10
28.10.2020
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
Review
Soundmagnet
8/10
08.10.2020
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.
Fazit
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
Soundmagnet
8/10
08.10.2020
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.
Fazit
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
Review
MusicMap
“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
MusicMap
“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
Review
ZwareMetalen.com
7/10
04.11.2020
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
ZwareMetalen.com
7/10
04.11.2020
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
Review
Hardrock.it
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".
Hardrock.it
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".
