Marche Funèbre - Einderlicht (CD) Digipak

eclectic doom death / black metal, BadMoodMan Music / Hypnotic Dirge Records, BadMoodMan Music
733.33 Р
Price in points: 1100 points
BMM. 091-20 / HDR-082 xs
In stock

The fourth full-length album of the Belgian quintet Marche Funèbre entitled "Einderlicht", which is translated as "light at the end", combines all traditional elements known from the previous works of the group: death, black and doom metal fused in a unique mixture with strong melodies and wide range vocals.
Thematically, "Einderlicht" focuses on the strange ability of humanity to consciously decide to commit suicide.
Accounting for their previous experience, which has borne good results, the musicians decided to again ask to perform recording Markus Stock, known for his cult bands and participation in the recording of Empyrium, Vision Bleak, Alcest, Secrets Of The Moon and many others. Brooke Schaden has created another magical cover art for this piece, like for all other Marche Funèbre's full-length albums. The album comes as a digipak with a twelve-page booklet, and includes an exclusive bonus track "Gone".

1. Scarred 9:56
2. The Eye Of The End 7:10
3. When All Is Said 11:24
4. The Maelstrom Mute 7:03
5. Deformed 9:56
6. Einderlicht 10:53
7. (silence) 3:33
8. (silence) 3:33
9. Gone 5:19

Marche Funèbre
Artist Country:
Album Year:
eclectic doom death / black metal
CD Album
BadMoodMan Music / Hypnotic Dirge Records
Cat Num:
BMM. 091-20 / HDR-082
Release Year:
Country Of Manufacture:
Rock Music Raider

Marche Funèbre. Ah, ’tis so decadently funeral, this Chopin thing.1) The name of the band brings classical heavy hitters to mind. Soaring melodies full of sorrow. And all that to bury one more lost soul.

So, did RMR suddenly cross those terrible waters of the river Styx and went full-bore classical? Never in life, or anywhere thereafter2).

Straight off the bat, Einderlicht‘s melancholy ways make themselves known. We were quite smitten by their knack to project doom. A sound not unlike Draconian, yet without the female touch.

The band – this time – navigates more on Pallbearer‘s territory than doing piggyback on Paradise Lost‘s meanderings. In other words, traditional Doom Metal gets more of that gloomy daylight here than the sturdy Doom Death Metal piece that has become custom for many bands out there.

That said, Marche Funèbre display an uncanny affinity in both sub-styles. Often, the band switches effortlessly from clear voice to growls whenever the theme demands it. And this – surely – is one of the strong suits of this band.

Yet, this record does not show any considerable weakness throughout its considerable length. All tracks, perhaps except the title track Einderlicht, base themselves on a pretty dense and meaty songwriting style that takes no prisoners. And – indeed – the band scours the abundant catacombs of the old and traditional meanderings of doom with an astonishing vigor.

Yet, here it appears that this band found just the right mix between the somewhat frugal old style of the genre and the often lush soundscapes today’s bands like to present. Fabled chocolate milk swamp and all included. And that’s a feat not many aspiring Doom Metal outfits really achieved.

Now, Einderlicht really packs some punch. That said, it’s intriguing3) that they start off Scarred with some slow-motion atmospherics, low energy riffing, and a pretty juicy solo to boot. That one had us scratching our heads because usually, you want to fill your first minute or so with a thunderclap.

So, the band wastes the first four minutes or so with anemic, yet pretty doomy chatter until some meat finally appears on these bleached bones of theirs. And it takes them almost six minutes until some real power arrives on the scene.

Whilst we understand that Marche Funèbre seek to convey this feeling of dread and sorrow, it will test yer patience some. And that is no good for public relations. Even if that wealth of progression later on that first track finally leads to a pretty juicy ending with those expert growls and some more serious riffs. Fact of the matter is, though, that this lengthy first track caused the record to linger in our review pipe until 2020 ran out of steam.

Luckily, the lightly blackened The Eye of the End puts a stopper to these capers with its meaty airs and improved velocity. But Einderlicht really lets loose with When All is Said. Already the old but still tasty analogy of solitude vs. comfort really got us curious. But, we truly relished Peter Egberghs‘ stellar riffs and Arne Vandenhoeck‘s eery vocals that somehow seem to emanate from the netherworld.

Dennis Lefebvre and his pretty excellent stick-wielding already made us take heed for the first few tracks. But on The Maelstrom Mute, the drums kinda get into a symbiotic relationship with the lead guitar. Not that the drum work is very prolific, and – in truth – it shouldn’t be. But its intensity is right at the level that is required from a good doom record.

It’s also interesting how each song serves its doom at a slightly different tonality. Yet Einderlicht never loses sight of its tear-drenched and suicidal urges in the process. And this is what finally sets this record apart from others. So, whilst Deformed suddenly surprised us with that tasty monologue, the title track comes across in flemish. Which is – so I understand – a first for the band.

March Funèbre created a carefully crafted and tastily blackened Doom Metal piece. One that bases itself on the traditional, old-style doom of long-gone times. Yet, always with enough modern variation to avoid the low-energy monotony trap. That said, their ability to effortlessly switch from traditional doom to doom/death finally is an asset. And surely not a burden as some have opined.

In the end, Einderlicht truly stands out of the masses that Doom Metal represents these days. A record that matches and even exceeds what the two remaining members of the Peaceville Three were able to deliver lately.

And that is quite a feat.

Author: RockmusicRaider
Antichrist Magazine

Mixing elements like ingredients in an alchemical brew, Marche Funebre bring us a unique sound that bridges genres and emotions. A cinematic experience, Einderlicht expertly uses each of its varied parts to create a one of a kind experience to listeners.

The genres represented here are sort of all over the place. With elements of power metal and black metal intermingling with a death/doom base and an over all post metal vibe, this release can spin your head a bit on first listen. But Marche Funebre being it all together in such a way that makes it feel perfectly natural. The sound rises and falls and tells it’s story perfectly, playing out in a performance for the ages.

Musicianship is on full display as the band puts on a master class in every genre it decides to tackle in this mammoth release. Vocals ring out precisely in a very wide range of styles, making many jealous of the ability in the process. The mix is expertly applied, with all instruments falling into a comfortable place in the listener’s ear.

Marche Funebre craft here an album that demands to be heard and respected. More an experience than an album, it is best taken in all at once. Let the theatrical qualities wash over you and become immersed in the story that Einderlicht is telling. You won’t regret it.

Author: Peter Morsellino
Wing Of Death

Marche Funèbre is een doomband uit België die middels Einderlicht alweer toe is aan haar vierde langspeler. Het vijftal mengt doom/death met traditionele doom alsof het een lieve lust is. Het geluid wordt bij voorkeur sober gehouden en klinkt bij vlagen zeer dromerig. Extra veel nadruk is er gelegd in de teksten die ingaan op de donkere kanten van de menselijke psyche en de bekende herfstige melancholie laat voor wat het is.

Scarred is alvast een mooie binnenkomer vanwege de rustige opbouw en de sterke afwisseling tussen krachtige cleane zang en ruwe grunts. De cleane vocalen zijn voor de atmosfeer ook nog eens ver weg in de mix gedrukt waardoor de illusie ontstaat dat er te midden van het oog van een orkaan gezongen wordt. The Eye Of The End volgt middels stuwende deathmetal in de opening om later middels een bezwerende lead in wat rustiger vaarwater te komen.

Het is duidelijk dat Marche Funèbre geen eenzijdige band is waar alles op zijn allertraagst moet gaan. Waar ik aanvankelijk smachtte naar een iets smeriger gitaargeluid in de death metalstukken blijken de de overgangen tussen venijn en droefheid op deze wijze veel natuurlijker te verlopen. Toch is de band op zijn allersterkst in de stemmige stukken waar de traditionele doom welig tiert in het zorgvuldig opgebouwde geluid van overweldigende riffs en treurig gestemde leadgitaren.

Gelukkig is daar ruim voldoende van te beleven op Einderlicht. Het majestueuze When All Is Said bijvoorbeeld, of The Maelstrom Mute. Vooral in die laatste klinkt er wanhoop en frustratie op ingehouden wijze door dat enorm bijdraagt aan de teneergeslagen uitstraling van het album. Marche Funèbre houdt niet van repetitieve doompassages en houdt de luisteraar bij de les met de tempowisselingen en de variaties in de vocalen. Deformed beukt er voorzichtig op los met enkel in het middenstuk wat van die typische leads die de boel wat dromerig maken.

Het klapstuk van het album is de hekkensluiter en titelnummer Einderlicht. Fraaie riffs en harmonieën die elkaar gemakkelijk opvolgen ondersteunen de Nederlandstalige vocalen die soms onvast en welhaast onzeker klinken, en soms ook rotsvast en nijdig. De algehele aankleding neigt soms lichtjes naar black metal en dat past de band beter dan de wat gematigde deathmetal die we elders op het album aantreffen. Al met al is dit een waardevolle toevoeging aan de kronieken van Marche Funèbre geworden. Sfeervol, stemmig, groots, afwisselend en dynamisch.

Author: Edwin Enklaar

Marche Funèbre always seem to be evolving with every album they crank out. Still rooted firmly in the death/doom territory on their fourth full length album, this Belgium based group step away from the dark, harsh atmosphere heard on their previous album “Into The Arms Of Darkness” and go more for the gothic doom route on “Einderlicht” hinted with bits of death doom, but the overall feeling is more melancholic than dark and crushing. Cleaner production especially with the guitars really help the album and pushes these guys more away from the Novembers Doom and My Dying Bride clones out there, while still taking cues from such groups here and there. The tracks are epic but not too many so listeners do not feel like these is too much music here, and the group opts for a lot of varied paces on instrumentation so it doesn’t seem too repetitive.
One thing fans of Marche Funèbre will notice is that the harsh vocals are used very sparingly here as opposed to previous albums, and the mournful clean ones are much more prevalent. Seeming a little shaky on the previous effort, they seem a bit stronger here, but still very melodramatic like he is delivering lines from a play, which enhances the gothic atmosphere such as on a track like ‘Scarred’ and ‘The Malestrom Mute’. Along with the slower, yet very melodic riffs, the heavier doom atmosphere is shed a bit but one can really feel the melancholy of the music and the clean vocals only help with that. Those looking for the faster, heavier pieces with the snarled vocals will enjoy tracks like ‘The Eye Of The End’ but despite the heavier tones, the harsh vocals feel a little bit strained compared to ‘Deformed’, which seems a little more balanced in the vocal department, although it sheds some of the heaviness for melody. While the vocals can be hit or miss, the guitars, bass, and drums are spot on, never losing their touch and certainly will appeal to any who like their doom clean and melodic with some pretty excellent riffs, such as on the closing ‘Einderlicht’. In the past Marche Funèbre kind of muddled everything together to create a dark hazy atmosphere leaving the vocals the only strong constant that wasn’t buried, but here it feels much more balanced overall despite the cracking of the growled moments such as on ‘The Eye Of The End’.

While not as crushing as earlier albums, “Einderlicht” does go a step in the right direction for Marche Funèbre as far as doom metal is concerned. Whether or not they may eventually shed the death doom elements and just go for the gothic doom, this overall mournful tone of the album is delightfully depressing enough without harsh grim shadow that the previous album had. Listeners might be a bit sad that the harsher elements were pushed away a bit, but the vocals have improved very much in the clean department and carry a unique sort of sorrow that is hard to match in a lot of doom bands who tend to opt for just dramatic spoken word passages and crushing growls, so one can actually appreciate the lyrics that Marche Funèbre deliver. A strong effort worthy for those who like depressing metal they can rock out to versus feel weighed down by it.

Author: Colin McNamara

Il quarto album della formazione belga Marche Funèbre arriva come una gelida fiamma maligna ad oscurare la stagione autunnale in arrivo, periodo dell’anno che si confà perfettamente alle atmosfere plumbee e cupe di Einderlicht, che fin dalle prime battute si classifica senza troppi dubbi come il disco più ambizioso e interessante della band.
I belgi propongono fin dal 2009 uno stile ibrido che ha le sue radici nel black e nel death metal nordeuropei, per poi arricchire il tutto con forti influenze doom e strutture prog che tanto devono ai primi Opeth quanto agli Amorphis e ai My Dying Bride; attraverso tre album, due EP e due split la band ha saputo trovare pian piano una sua precisa dimensione artistica che in Einderlicht trova il definitivo compimento, capace di allontanare buona parte dei facili paragoni che si potevano fare prima della sua pubblicazione. Non per niente il gruppo ha impiegato ben tre anni, dal 2016 al 2019, per completare la stesura della musica e delle parole di Einderlicht. Tematicamente i testi dei sei brani che compongono il disco – il cui titolo si traduce con “la luce della/alla fine” – ruotano intorno al suicidio e alle ragioni per le quali l’uomo decide di porre fine alla sua vita. Proprio i testi risultano la componente più interessante dell’opera, che si fregia anche dell’utilizzo del noto componimento Verrà la morte e avrà i tuoi occhi di Cesare Pavese sul brano The Maelstrom Mute.

La bella copertina ideata dall’artista Brooke Shaden introduce con le giuste sensazioni al primo brano, Scarred, che apre l’album con un mood soffuso e nebuloso dal retrogusto blues prima di sfociare in territori doom dalla forte carica melodica, contrastata dal growl di Ande Vandenhoeck, bravo e versatile nell’alternare diversi stili vocali nello stesso pezzo. La composizione riflette l’eclettismo dei musicisti nella scrittura e se si pensa che Scarred è stata composta nel 2016 dal chitarrista Kurt Blommé e poi rifinita anno dopo anno per arrivare a questa versione definitiva si ha ben chiaro quale sia lo standard qualitativo a cui i Marche Funèbre aspirano.
Con The Eye of the End la bilancia pende decisamente sul death metal, almeno all’inizio, per poi riempirsi di suggestioni melodiche, che rimangono la vera costante del disco, brano dopo brano. È comunque la brutalità del growl a trionfare sui fraseggi delle chitarre, mentre il doppio pedale tonante di Dennis Lefebvre come uno schiacciasassi regge le redini del brano fino alla sua conclusione. I brani della band hanno tutti una durata elevata e gli abbondanti undici minuti di When All Is Said segnano il picco di minutaggio all’interno dell’album. Emerge qui la componente maggiormente prog dei belgi, unita a una sana passione per l’heavy metal tradizionale e anche ad un certo post rock mai troppo esplicitato, ma decisamente percepibile. The Maelstrom Mute si piazza a metà del disco e sicuramente spicca per essere il brano più immediato di tutti, grazie al cantato pulito e ad una melodia malinconica che si appiccica all’orecchio dell’ascoltatore e non se ne va più via. Il testo, come già detto, è semplicemente la traduzione in inglese della poesia di Pavese, che certamente perde qui tutta la sua forza linguistica, ma non risulta forzata ed anzi si adatta particolarmente bene alla musica, che qui si prodiga in una lezione di doom melodico puramente anni ’90 che richiama allo stesso tempo sia gli Anathema che i Paradise Lost.
Infine, dopo una Deformed che ripresenta gli stessi ingredienti tendenti al death metal di brani come The Eye of the End senza notevoli variazioni, ma al contrario con un approccio vocale che non convince del tutto, salvo poi salvarsi sul finale con un bel break arpeggiato, si arriva alla finale Einderlicht, che chiude le danze in maniera esemplare: la stesura generale del brano è opera del chitarrista Peter Egberghs, che a questo punto dovrebbe comporre molto di più se questi sono i risultati; un avvio acustico dai lontani sentori jazz viene condotto dalla voce sporca di Vandenhoeck verso territori doom resi più suggestivi dall’uso, da parte del cantante, della lingua madre. L’alternanza tra sezioni in clean e improvvise accelerate al limite del black metal rendono la titletrack il miglior brano in scaletta, capace di regalare emozioni profonde grazie al sapiente uso dei cori e delle architetture chitarristiche, qui bilanciate perfettamente. È presumibile che in questo caso la mano del produttore Markus Stock, storico fondatore degli Empyrium e già responsabile della produzione del penultimo album dei Marche Funèbre, sia stata più incisiva rispetto agli altri brani del disco.

Nel complesso dunque Einderlicht si conferma non solo come l’album più ambizioso e interessante della discografia dei belgi, ma anche come il migliore, sia per ciò che riguarda la scrittura e la composizione dei singoli brani, sia per quel che riguarda l’ottima produzione dell’opera globale, copertina inclusa. Non mancano alcune sbavature, riscontrabili più che altro nella ridondanza di certe soluzioni compositive o di singole sezioni strumentali che appesantiscono qua e là l’ascolto (parliamo di sei brani per circa un’ora di musica), ma se la band riuscisse ad asciugare leggermente il proprio songwriting ecco che allora potremmo parlare davvero di musica eccellente. Per ora i Marche Funèbre si dimostrano una realtà più che degna di essere seguita e approfondita dagli amanti del death e del doom, ma manca ancora qualcosina per salire al livello successivo. Einderlicht ad ogni modo ci va davvero vicino e questo è un piacere per il nostro orecchio.

Author: Alex Cavani "Black Me Out"

In letzter Zeit habe ich ja einiges über Italiener gelernt (schwermetallisch auf YouTube). Die Leute sind musikalisch variabler als ich bisher wusste. Meist kommt aus Italien mainstreamiger Power Metal, mit Frau am Mikrofon und Opern-Gedudel auf Langrillenlänge...nicht hier! Silvered aus dem Stiefelland spielen progressiven Death Metal. Klar ist der auch mal gern viel melodischer als Death Metal im üblichen Sinne aber dazwischen gibt es auch gern mal dezent auf das Fressbrett. Den Death Metal Anteil brauche ich ja eigentlich nicht aber ohne gibt es kein Silvered. Also Augen zu und durch! Der „Swan Song (Part I)“ und auch Numero Due, sind eher ruhig und melodisch, „From A Letter Of Sorrow“, lässt es aber dafür umso heftiger Krachen. Ich bin hier durch die sehr wechselhafte Art und Weise sehr zwiegespalten und halte mit mit einer Hand die Ohren zu und mit der anderen Hand gebe ich sechs Daumen hoch (ihr fragt euch jetzt wie meine Hände aussehen? Geht euch nichts an). Hört rein und sagt mal Bescheid was ihr davon haltet.

Author: Dennis Eikenkötter
All Around Metal

Sono passati tre anni da quando abbiamo incontrato per la prima volta i belgi Marche Funébre, con quell'interessantissimo album - pur non privo di qualche difetto - che è stato "Into the Arms of Darkness". Il quintetto di Mechelen torna dunque e lo fa dopo essere maturata non poco; rispetto al precedente lavoro infatti, in "Einderlicht" possiamo trovare dei nettissimi miglioramenti nella band belga: in primis, i Nostri hanno deciso di concentrarsi esclusivamente sul lato più crudo, cupo e malinconico del Doom/Death, con influenze che adesso vanno ricercate solo in gruppi come My Dying Bride, Paradise Lost, Novembers Doom. Ciò che maggiormente colpisce però è la maturità che traspare dal songwriting dei Marche Funébre, capaci di tirar fuori un lavoro sì di quasi un'ora di durata, ma che riesce a tenere incollato l'ascoltatore grazie ad un sapiente "gioco" tra parti più atmosferiche e, a loro modo, ariose - guidate da clean vocals enormemente migliori rispetto lo scorso lavoro - ed altre più dure e funeree: l'opener "Scarred" è un esempio perfetto di cosa siano i Marche Funébre di oggi, capaci di richiamare al 100% i My Dying Bride nella seguente "The Eye of the End" senza che però scimmiottino i veterani britannici.
E' a tutti effetti la stessa band che abbiamo incontrato tre anni or sono, ma in un certo senso potremmo dire che è anche un altro gruppo: come detto i Marche Funébre sono cresciuti non poco in questo lasso di tempo ed è per questo che, giocoforza, "Einderlicht" risulta essere un lavoro superiore rispetto ai precedenti.

Author: Daniele Ogre
Wonderbox Metal

This is the fourth album from Belgian death/doom metallers Marche Funèbre.

Having been a fan of Eye of Solitude for some time, their split with Marche Funèbre impressed, and made me want to check out the latter band when the opportunity arose. That time is now, and Einderlicht has arrived to carve a space in my collection all of its own.

When the press blurb states that this music is for fans of “My Dying Bride, Saturnus, Swallow the Sun, Officium Triste, Mourning Beloveth, (old) Paradise Lost“, you should have a decent idea of what to expect here. Marche Funèbre mix death metal, doom, Gothic metal, and elements of black metal and progressive rock into a brew that’s melodically rich and emotively potent.

This is epic music with an emphasis on feeling and depth of emotion. It’s textured and multifaceted, with a range of different approaches taken, as befits the different subgenres that feed into its creation. Despite this, the album still has a holistic feel with a good flow. This is largely due to the band’s songwriting and delivery skills, as well as their strong sense of identity.

Enderlicht is a nicely diversified release too, for something of this genre. Light and heavy, aggressive and tranquil, atmospheric and stark; a lot has clearly gone into this album’s creation. It’s sorrowful and mournful in some places, while being brighter and more hopeful in others. The former elements are typically espoused by the doom influences, while the latter frequently coming via a progressive viewpoint. Melody is used especially well, but everything here is hard to fault, to be honest. The vocals display as much variety as the music, with deep growls, harsh screams, and engaging cleans used. All are well-performed, but the clean singing especially so.

I was hoping for good things from Einderlicht and I have not been disappointed. Marche Funèbre have produced an extremely enjoyable and satisfying album. While clearly existing within the death/doom genre Einderlicht is not restricted by it. Marche Funèbre are a talented bunch, and I’d recommend Einderlicht for anyone into emotive heavy music.

Arrow Lords of Metal

Wanneer de herfst zijn intrede doet en de dagen korter worden, brengt onze Belgische doom/death metaltrots Marche Funèbre zijn vierde studioalbum ‘Einderlicht’ uit. Zes songs geschreven tussen 2016 en 2019 zullen de van oudsher melancholieke gevoelens die met dit seizoen gepaard gaan, nog versterken.

Na het bijzonder sterke ‘In The Arms Of Darkness’ nam de band geen risico’s en toog wederom naar de Klangschmiede Studio E. om er met producer Markus Stock (Empyrium, The Vision Bleak) aan de lange songs – variërend van 7 tot 11 minuten – te werken. Het klinkt op en top vertrouwd, maar net weer anders vanwege een grotere variatie in de zangpartijen en de aanwezigheid van pittige acceleraties tussen de slepende inertie. Een song als ‘Scarred’ vangt ingetogen aan met sierlijke gitaarnoten en cleane zang, om later los te barsten in meedogenloze grunts. Er is zelfs aanstekelijkheid te vinden in de lange epossen, want wie de strakheid van ‘The Eye Of The End’ of het rockende ‘Deformed’ (inclusief samenzang en gesproken stukken) niet bemerkt, mist connectie met het genre. Vocaal heeft men zichzelf uitgedaagd en dat wordt ook gereflecteerd in het titelnummer, waar men voor het eerst in het Nederlands zingt. Dat is altijd even wennen, maar het is een kanjer van een song. Wanneer we weten dat dit album de opmerkelijke keuze van de mens om zelfmoord te plegen belicht, dan weten we dat de band weer diep graaft in de psyche der verdorven mensheid. Met imposant resultaat!

Author: Vera Matthijssens
Hell is Open

Der Herbst steht zumindest kalendarisch schon vor der Tür, man kann sich also wieder doomigeren Klängen widmen. Dazu passt das neue Album der belgischen Marche Funebre bestens.

"Einderlicht" hat eine schwere 90er Schlagseite, aber von der guten Seite aus. Paradise Lost, My Dying Bride, diverse skandinavische Vertreter, alles weit vor den 2000ern......Wer damit was anfangen kann der wird sich hier gut aufgehoben fühlen, Marche Funebre sind aber dennoch im Jahre 2020 zuhause und klingen nicht wie alter Wein in neuen Schläuchen.
Das Album lebt vor allem von seiner Dynamik und seiner Kraft, Doom sollte man hier nicht mit Zähigkeit oder Monotonie gleichsetzen. "Einderlicht" ist erstaunlich variabel und spannt den Bogen von kraftvollem Doom Metal zu Death Doom bis hin zu getragenem Black Metal, hilfreich ist dabei auch das Wechselspiel aus Klargesang und Growls. Mich fasziniert auch der Fluss mit dem das Album sich bewegt, leichtfüssig geht man von doomig langsamen Passagen bis hoch zu schnell atmendem Death Metal ohne das es zu einem Bruch im Titelverlauf kommt. Das macht es sehr spannend für den Zuhörer der gebannt den diversen Verästelungen im Klangbild folgt ohne den roten Faden zu verlieren.

Hervorzuheben ist auch der wuchtige Klang der trotzdem noch genug Raum für die Einzelheiten lässt, sehr schön das das gelungen ist ohne das Album künstlich klingen zu lassen. Denn trotz aller Energie hat "Einderlicht" einen sehr warmen und angenehmen Klang bei dem man sich sofort wohlfühlt, hier zahlt es sich auch aus das mit Markus Stock (Empyrium, The Vision Bleak) jemand hinter den Reglern saß der einfach weiss wie so ein Album zu klingen hat. Dankeschön.
Anspieltip meinerseits ist das über elfminütige "When all is said" das alle Trademarks des Albums in einen Titel packt. Man könnte ihm eventuell ankreiden das er etwas zu lang geraten ist, ansonsten ist das schon eine fette Hymne mit Gänsehautpotenzial. Traditionalisten starten besser mit "The Maelstrom Mute" der ganz auf Growlgesang verzichtet und so reine Doomware bietet. Funktioniert aber auch sehr gut und bringt etwas Auflockerung rein auch wenn man immer noch weit entfernt ist von verdrogten Blumenkinderdoom. Das an letzter Stelle stehende und titelgebende "Einderlicht" hat nochmal etwas besonderes da es komplett in niederländischer Sprache getextet ist und über den Gesang eine schwarzmetallische Note mit reinbringt die dem Titel äusserst gut steht.

Wer also noch einen neuen Soundtrack für den eventuell irgendwann aufkommenden Herbstblues sucht der liegt hier goldrichtig. Aber Vorsicht, "Einderlicht" kann die aufkommenden dunklen Gedanken noch verstärken und dient definitiv nicht als Stimmungsaufheller. Es sei den man beabsichtigt genau diese düstere Stimmung, dann ist das neue Album der Belgier der passende Treibstoff.
Kritik? Höchstens an der Veröffentlichungspolitik: Die Digipakversion des Albums enthält mit "Gone" einen Bonussong der den anderen Versionen fehlt und das Vinyl verfügt über zwei exklusive Bonussongs.

Author: Alucard
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