Inborn Suffering - Regression To Nothingness (CD)

melodic death doom metal, Solitude Productions, Solitude Productions
533.33 Р
CD
Price in points: 800 points
SP. 062-12 xn
Out of stock
The second long awaitedalbum from the French doom death metal masters Inborn Suffering! Aftersuccessful album in 2006 which got many positive reviews from the critics andlisteners, the band fell silent for a long time in order to return with a newalbum raising Inborn Suffering to a higher level. The new album contains 72minutes of atmospheric and melodic doom death metal in its best traditions. Themajestic, full of despair and gloom, music is able to become a discovery forall fans of the genre. Plunge into the world of despair and emptiness and openyour heart to “Regression To Nothingness”. The powerful sound of the album willgive particular pleasure to music lovers. Recorded and mixed by AndrewGuillotin (Glorior Belli, Fractal Gates, Temple Of Baal) and mastered by JensBorgen (Paradise Lost, Opeth, Katatonia, Draconian). Featuring limited digipaсkedition with 12-page booklet.

Tracklist:
1 Slumber Asylum 11:17
2 Born Guilty 12:51
3 Grey Eden 13:15
4 Apotheosis 8:09
5 Another World 6:01
6 Regression To Nothingness 11:20
7 Self Contempt Kings 9:31

Artist:
Inborn Suffering
Artist Country:
France
Album Year:
2012
Title:
Regression To Nothingness
Genre:
melodic death doom metal
Format:
CD
Type:
CD Album
Package:
Jewel Case
Label:
Solitude Productions
Cat Num:
SP. 062-12
Release Year:
2012
Country Of Manufacture:
Russia
Review
Chronicles of Chaos
5.5/10
29.12.2012

This very review is both an anomaly and an attempt to antagonize the consensus about this album, which is basically, how awesome it is. An anomaly due to the fact I'm reviewing an album I don't care too much for, something I usually refrain from doing; an album whose qualities are not worthy of my time and effort articulating into coherent words (for that matter, see Kostas Sarampalis' article "Quality Not Quantity - Or why I mostly review albums that I like" for a good explanation of the notion).
Amidst doom metal circles this album is pretty much one of the best things that 2012 has spawned. It is being praised by many, and when end of year best-of lists start to emerge, you'll see this very album star on every god damn doom-related list. I had to understand why; had to explore the album further and articulate my disdain; face the challenge of explaining why I do not like this album.

Inborn Suffering were a decent band displaying their abilities on their 2006 debut album _Wordless Hope_; a mediocre effort of gothic-tinged melodic doom/death metal, running rampant with genre clichés and lacking personality. _Regression to Nothingness_ exhibits many changes and improvements in the cliché department; it sounds more original and singular in the sense it bears unique band fingerprints and the sound and songwriting paradigms have radically shifted in a positive direction. The band have undoubtedly embraced a certain degree of individuality in comparison to the debut album.

Yet Inborn Suffering still sound like many of their peers, and still exercise many of the style's typical techniques and dogmatic songwriting approaches. Remember the album release frenzy of bands signed to Firebox Records from 2004 onwards, where Swallow the Sun et al had released good sounding albums that were completely redundant and rehashed? Remember the plethora of bands signed to that Finnish label who had been releasing truly forgettable albums? They were forgettable despite the fact their music wasn't even half-bad. That's exactly the case here.

_Regression to Nothingness_ is -- like many other faulty albums in the same school that are out there -- not really offering doom-slash-death metal. The album isn't -that- slow or heavy or deathlike or anything; the music is mostly pushed forward by the vocals that are strongly rooted in the gothic metal school and a set of rather impressive keyboard compositions, the absence of which would have caused a disintegration of the other elements here that by no means stand alone. The spoken verses and many of the riffs resemble the body of work of My Dying Bride's mellower parts, and the lightweight growls sound too strained; too much of a try-hard affair.

Although much of the album displays rather beautiful and emotional melodies, one cannot escape the notion the music is a patchwork of influences and false sentiments; like a musical creation assembled by a machine, compiling all the 'right' elements it has been taught to compile from scarps and pieces, from here and from there, extrapolating this knowledge and executing it through and through, excluding all the 'wrong' stuff found on the doom metal 101 wrongs and rights list, but neglecting the very essence of human creation: creativity and authenticity, even if flawed; singularity and self-loyalty to this very process. The outcome can be less than perfect -- I do not care. Perfection was never a big issue in underground music.

I hear a lot of excuses and I see much of this 'being at peace with the world' going on here, as if reconciliation, being 'nice' and walking the line are the main elements of a good album -- well, they are most certainly not. On the contrary; antagonizing the world, even within the micro-cosmos of doom metal, raising the banner of individuality, no matter how imperfect it may be, is the roadmap to art.

In a crowded world that is nothing but a small village now with the Internet and globalization and whatnot, it is virtually impossible for an artist to detach from incoming influences, but that ability is what sets the artist apart from the conman, the bandwagon jumper or follower. A demanding art such as metal constantly seeks leaders -- not followers. It demands the artist to be almost supernatural in the sense that nature loves imitations, while art despises them, and an artist is like a god, metaphysical in his work, who creates something out of the nothingness. We, the mere audience, expect not a lesser 'product'.

_Regression to Nothingness_, albeit impressive, does not offer a single moment of individuality. It bears the notion of artificial colours and artificial flavours, and I truly find it surprising how such an emotive album, containing so many beautiful moments, leaves me apathetic and empty. Listen to this album and be your own judge.

Author: Chaim Drishner
Review
Evilized

Es hätte ein vielversprechender Neuanfang werden können…

Nach sechs langen Jahren der Abstinenz meldete sich in diesem Sommer die französische Truppe INBORN SUFFERING zurück aus der Versenkung, um stolz eine Zusammenarbeit mit dem russischen Plattenlabel Solitude Productions zu verkünden, deren erste Früchte – ein Re-Release des 2006er Debütwerkes ”WORLDESS HOPE” sowie ein neuer Langspieler – schon wenige Zeit später präsentiert werden konnten. Doch nur kurz währte die Freude über das frisch erstarkte Quintett aus Paris, das schließlich vor wenigen Wochen die sofortige Auflösung von INBORN SUFFERING bekannt gab, um sich künftig anderen Projekten widmen zu können. Was nun bleibt sind acht neue Stücke unter dem Namen ”REGRESSION TO NOTHINGNESS” und die Erkenntnis, dass die Gruppe sich seit dem Erstlingswerk deutlich weiterentwickeln konnte.

Zwar bot ”WORDLESS HOPE” seinerzeit eine durchaus gelungene, wenn auch nicht sonderlich originelle Mixtur aus Doom und Death Metal, der allerdings stellenweise der nötige Biss fehlte. Zu unausgereift und unspektakulär ertönten die Tracks aus den Boxen, um wirklich fesseln zu können. Doch steckten die Stücke ebenso voller ungenutztem Potential, das nun scheinbar Jahre später auf ”REGRESSION TO NOTHINGNESS” zu seiner vollen Entfaltung kommt. Zielsicher und auf deutlich gehobenen Niveau gehen die Franzosen dabei anno 2012 ans Werk und erschaffen sieben detailverliebte Kompositionen, die voller Kraft und Gefühl stecken.

eine intensive Atmosphäre und Tiefe

Speziell die Saitenarbeit wurde hierbei einer Generalüberholung unterzogen und glänzt nun mit abwechslungsreichen und eigenständigen Riffkonstrukten, die sich weniger stark an den Keyboards orientieren, deren Einsatz ohnehin hörbar gedrosselt wurde. Stattdessen prägen nun verträumte Melodielinien und Akustikgitarren Songs wie ”Grey Eden” oder ”Slumber Asylum” und erschaffen vielschichtige Strukturen mit allerhand unterschiedlichen Facetten. INBORN SUFFERING verleihen ihren Stücken hierdurch eine intensive Atmosphäre und Tiefe, die auf ”WORDLESS HOPE” so nur im Ansatz erreicht werden konnte. Erneut legen die Herren verstärkt Wert auf variationsreiche Arrangements und bieten so nebe schleppenden und äußerst melodischen Passagen auch immer wieder Stimmungswechsel, die eine wütende Doublebase und harsche Growls mit sich bringen. Die einzelnen Elemente profitieren dabei von der druckvollen Produktion, die auf der einen Seite für einen klare und differenzierten Gitarrensound sorgt und andererseits das Schlagzeug mächtig und dominant erschallen lässt.

Angesichts einer derart überzeugenden Veröffentlichung, wie sie mit ”REGRESSION TO NOTHINGNESS” vorliegt, ist es in der Tat schade, dass sich INBORN SUFFERING dazu entschlossen haben fortan getrennte Wege zu gehen. Doch vielleicht müssen auch nur wieder einige Jahre ins Land ziehen, bis die Mannen sich plötzlich erneut mit einem neuen und hoffentlich ebenso stimmigen Werk zurückmelden…
Review
Pitchline Zine
8/10
18.12.2012

Hace poco hablaba de Inborn Suffering y de su primer disco 'Wordless Hope' como punto de partida para dar paso a su nuevo disco, lanzado el 9 de Julio de este mismo año. Hoy, es el momento de hablar de 'Regression To Nothingness', disco con el que debutan en Solitude Productions y el cual trae notables cambios a la banda en varios aspectos.

Para estos franceses la melodía es el plato fuerte y sustento de la banda para destacar entre los demás grupos de Death/Doom, cosa que quedaba patente y bastante claro en su primer álbum. Sin embargo, en 'Regression To Nothingness' la banda ha potenciado su sonido dándole riffs y ritmos con ciertas subidas de revoluciones sin excederse, de manera que tenemos momentos muy enérgicos como en "Slumber Asylum", "Apotheosis" y sobre todo "Born Guilty", tema bastante variado en donde podemos encontrarnos desde riffs con una potencia descomunal, hasta grandes pasajes melancólicos donde cada instrumento es vital en la transmisión de ese sentimiento de mal pesar, y donde además la nueva variedad de registros sonoros a cargo de la nueva voz del guitarrista rítmico Laurent Chaulet ayudan a aportar más variedad.

Esto no quiere decir que se haya quedado atrás la mayor característica de Inborn Suffering que son las enormes melodías, por lo que las influencias de My Dying Bride y Swallow The Sun siguen vigentes, primando el aura gris y triste de la banda una vez más gracias al dúo de Stéphane Peudupin a la guitarra principal y Sébastien Pierre al teclado, el cual ha adquirido mayor acto de presencia respecto a 'Wordless Hope' sin anteponerse ante ninguno de los otros miembros.

Por otra parte hay que destacar también la mayor presencia del bajo en las líneas respecto a su disco predecesor, esta vez a cargo de Rémi Depernet, y que se encarga en gran parte de seguir el ritmo de la batería, la cual sigue cumpliendo su papel sin destacar por encima del resto.

Aunque 'Regression To Nothingness' tenga menos temas que 'Wordless Hope' su duración es mayor, por lo que nos encontraremos temas más extensos como "Grey Eden" o el propio tema homónimo "Regression To Nothingness", lo cual por una parte puede cansar a quien no esté acostumbrado a este tipo de duraciones.

Por último queda mencionar el sonido final, más potente que su anterior disco gracias a la masterización a manos de Jens Bögren (conocido por masterizar, entre otros, a Daylight Dies, Ihsahn e incluso a los nacionales Aathma) para dar por terminado un disco que supera a su predecesor en composiciones, sonido y mejoras en su cambio, pero sobre todo por esa capacidad de transmitir en cada una de sus notas y de sus letras y de mantener intacto ese nivel. Un gran ejemplo de cómo superarse a sí mismo.

Author: Soulkiller
Review
Metal Temple
8/10
10.09.2012

INBORN SUFFERING is a French Melodic Doom Metal band formed in 2002 when Thomas Rugolino and Emmanuel Ribeiro got in contact with Stephane Peudupin. They have a single demo and two studio albums. The debut "Wordless Hope" was released in 2006 and after 6 years they released their 2nd, and new album, "Regression To Nothingness".

The album's title attracted me very much at the first. Regression is a defensive psycho mechanism people use when their current life's state is not going well wishing to overcome stress and distress while living a painful life with plenty of suffering. Indeed the rate of stress and suffering is consanguineous and some people have more misery and some less. Therefore they use regression to follow their past where they lived a content life by traveling (in their mind) and make a kind of fantasy through dreaming. Nothingness is a concept of nihilism and absurdness and in terms of philosophic / social point of views it’s a negative perception but in regression, as I mentioned above, people rather regress to their positive memories where they were happy. In the bottom line, after abusing your mind, this album's title has a really nice and complicated paradox that is so attractive and compelling.

This release might look short at the first but there are really magical lengthy tracks, which are in mainly in the vein of how melodic Doom Metal tracks are. For INBORN SUFFERING fans six years is a long time of waiting, but it was worth it and this new album will serve as strong and satisfying for them. Throughout the album the vocalist uses three vocal patterns; one is a thick doomy high end raspy tone, one that is commonly shared in extreme Doom Metal, along with the second pattern of the lower deathly growl. Also there is the third pattern of the clean vocals, more of the narrative type than singing. These narrations usually accompany heavy rhythm and various of keyboard action. For those who always focus on lyrics as the most important part of music (like myself) this is a more of a laidback experience with headbanging poetry. The convergence of the gloomy music and lyricism is so deep to extent that you might feel wholesome vacuum and empty worlds, the worlds within your mind and soul I mean, always searching for something to fill them up.

The bass work is not too tight and creative, but it vaccinate an absolute surge power to the guitars within the rhythms, while also not letting you, the listener, just go. As you may know France has really powerful underground extreme Metal associations, but INBORN SUFFERING is more of a melodic Doom Metal band with a dedicated keyboard player, therefore the rhythms are more soothing and faster than classical Doom Metal, you can feel this in "Born Guilty". Personally I liked "Apotheosis" mostly because it is different than other songs. It starts with a really nice and inspiring bass rhythm. The keyboard solos and rhythms in the mid-way are also very beautiful. It is actually the longest track of "Regression To Nothingness", 13:15 minutes.

"Regression To Nothingness" is an excellent example of melodic Doom Metal and can be compared with giant albums of the genre. It has lots of majors and experts attention on it and it totally feels magical and interesting, forcing your mind to a deep inner search.

Author: Ehsan "FlowerHead" Bitarafan
Review
Heavy Music
8/10
28.11.2012

Этому долгожданному альбому французов, вышедшему через 6 лет после дебютника, есть чем удивить слушателя. Группа сделала большой перерыв в своём творчестве, но сделала это совсем не зря. Уверен- изменения пошли на пользу как самим музыкантам, так и слушателям. У всех было достаточно времени чтобы переосмыслить свои взгляды, переоценить многие вещи, расставить приоритеты. Конечно, не только прошедшее время, но и частичная смена состава повлияла на окончательную форму музыкального материала. Пожалуй, стоит отметить тот факт, что открывающий рифф в первой же композиции напомнил мне рифф из Abyssic Hate - Depression Part I, только в несколько раз замедленный и слегка искажённый. И как я не пытался, так мне эту мысль выгнать из головы и не удалось. Впрочем, это единственное, что на этом альбоме показалось мне уже слышанным ранее и знакомым. Остальной материал достаточно таки интересен и разнообразен.

А всё же... не зря с первых нот музыка Inborn Suffering напомнила мне творчество одной из депрессив метал групп. Ведь звук гитар в некоторых песня - буквально превращается в тот жёсткий, едкий, режущий по живому депрессив блэк металический звук. Однако, не пугайтесь. Изменения в группе произошли не на столько кардинальные. Хотя чего уж там? Мелодичности стало в разы меньше, а звучание в целом стало на много жёстче и драйвовей. Музыкальное полотно стало очень интенсивным, скорее озлобленным, чем отстранённо-меланхоличным, как на первой работе группы. Теперь эти французы звучат очень интенсивно и напористо. Добавьте к этому также изменившийся вокал: теперь он стал ещё более хриплым, вокалист всё чаще переходит на крик, изредка разбавляя свои усилия шёпотом или чистым пением.

Однозначно, альбом достаточно динамичный и слушает бодро, на одном дыхании. Несомненно, по прошествии стольких лет и стольких изменений, нельзя не задать себе вопрос - это всё та же, уже знакомая нам, или совсем другая группа? Думаю, каждый сам найдёт для себя ответ. Стоить лишь один раз послушать.

Author: Grimmsberg
Review
Temple of Doom Metal
16.3/20

Seis anos após 'Wordless Hope', eis que surge o segundo registo destes franceses, continuando fiéis às linhas do melodic doom/death carregado de densas e profundas atmosferas que marcaram esse primeiro registo. Apesar disso, esta longa espera está longe de significar estagnação e 'Slumber Asylum', logo a iniciar é reveladora disso mesmo, com o seu ritmo forte e compassado, a suportar uma melodia que inclui um riff que se entranha ao fim de pouco tempo, desaguando em toadas mais lentas e belas. Somos apanhados de surpresa ao mesmo tempo que se revela uma banda mais madura e com uma qualidade de composição mais elevada. 'Born Guilty', começa em mid-tempo, como se estivéssemos no meio de uma tempestade, amainando mas mantendo todo o tema como uma bela sequência de passagens que se encaixam muito bem, sendo uma das melhores faixas deste registo (os minutos finais de 'Grey Eden' também são muito bons).
'Regression to Nothingness' está uns furos acima de 'Wordless Hope'; funciona como um todo bastante coeso, interessante e sem grandes momentos que soem a fillers.
Terá valido a pena esta espera de seis anos? "Este é um dos melhores álbuns do género, este ano!", será a nossa resposta.
Review
Metalitalia
7/10

L’estate sta finendo, un anno se ne va. Le banalità proseguono ricordandovi che dopo la stagione calda arrivano prima il crepuscolo giallo ocra dell’autunno e più avanti le notti imbiancate dell’inverno. Quindi, per ben premunirvi ad affrontare i vostri gelidi e solitari esili delle fredde stagioni, quale incipit migliore, all’imbrunirsi delle giornate, di un bel disco doom/death metal scritto e suonato come si deve? Gli Inborn Suffering sono francesi, per l’esattezza di Parigi, e tornano in scena dopo un lungo silenzio durato più di un lustro e contornato dai due full finora pubblicati, l’esordiente “Wordless Hope” e questo ottimo secondo “Regression To Nothingness”. La band innova pochissimo un genere che punta tutto il suo appeal sull’atmosfera e sui paesaggi – i famosi landscape che molti di voi mutueranno ogni tanto dall’inglese – in grado di autogenerarsi nella mente dell’ascoltatore. Siamo a cavallo di primi Katatonia, primi Anathema, My Dying Bride, Novembers Doom, The Prophecy, Swallow The Sun: tutti i cliché tristerrimi della proposta standard sono presenti e ciò, se certamente non ci fa osannare gli Inborn Suffering sopra le righe, resta però un punto a favore, in quanto Laurent Chaulet e compagni sanno il fatto loro e non chiedono molto di più alle loro capacità compositive, almeno non per ora: riffoni melodici di stampo doom vengono interrotti qua e là da sporadiche accelerazioni di quadrato death metal e da sezioni arpeggiate e decadenti, spesso riempite dal recitato evocativo e ideale del succitato Chaulet, anche secondo chitarrista. I cambi di tempo sono piuttosto frequenti e i ragazzi francesi possono venir considerati sicuramente melodici, all’interno di una scena che presenta anche monoliti sonori di densissima grafite difficilmente scalfibile. Le parti dilatate, difatti, non strabordano mai nella noia, ma si spazientiscono presto e con rapidità trovano uno sbocco in qualcosa di diverso, si voglia una tipica andatura a cascata stile Katatonia, oppure arpeggi degni dei primevi Anathema. Le tastiere di Sebastien Pierre fungono quasi sempre da tappeto epico-estatico alle imponenti strutture dei pezzi, senza mai sforare in pacchianerie troppo gotiche o viranti verso il symphonic-black. Come scritto più in alto, la ricerca della fuga sonora e visiva di un certo tipo ci pare l’obiettivo principe degli Inborn Suffering, una formazione interessante che può far certamente gola agli abitudinari fruitori del doom/death metal, quello più melodico e sognante, chiaramente, non certo il terremoto messo in piedi solitamente dagli Asphyx. Peccato per la mancanza d’originalità, altrimenti un mezzo voto in più a “Regression To Nothingness” non glielo levava nessuno!

Author: Marco Gallarati
Review
Ave Noctum
8.5/10
30.10.2012

So it is then that Inborn Suffering have returned in 2012 – after an absence of six years. Now with rhythm guitarist Laurent Chaulet also on lead vocals, (and doing a fine job of it – sounding not unlike a more tuneful Darren White with added testicles), “Regression to Nothingness” is ironically enough not anything like a regression for the band. The evolution of the music is plain to hear, particularly when the two albums are played back to back. Where “Wordless Hope” was a fine doom/death album, there is much more than that simple genre description to be found in this album. With progressive elements, and an incredibly heavy pure death metal influence, this is something truly special. The title track, a dizzying 11 minute epic, contains more ideas than most of their contemporaries can muster in an entire album. Majestic, sweeping riffs are backed up by the sturdy bass playing, until the insane drumming of Mr Rugolino makes an appearance, all drenched in the tasteful keyboards. Though it isn’t really entirely musically accurate, I would say that this album really reminded me of what could have happened if Anathema had taken the staple ingredients that made their epic “The Silent Enigma”, and kept going into extreme territory. This is an organic album. It breathes. Between the tumult and the churn, when the music has ebbed and flowed, there is magic in the space between the noise. It’s also fair to say that with tunes such as “Self Contempt Kings”, there’s an introspection and depth that’s very alluring.

In between the vast walls of doom, however, are gems that shine in the murk, such as stand out track “Another World”, which plows a different furrow. It’s a complex, twisted tune with mangled rhythms, tortured vocals and otherworldly atmosphere. At a mere (!) six minutes, it’s also fairly pacey by the standards of the rest of the album, punching a mid-tempo barrage until the mid section crawls painfully by on its knees. It’s merely one example of how sophisticated a package this is: a self-confident and accomplished piece of art that stands proudly on its own feet. Bravo.

Author: Chris Davison
Review
Pest Webzine
9.5/10

Solitude Productions picked up a real winner here, Inborn Suffering might be the biggest name in their roster so far, and although the band relied on their 2006 album success so far, they are back this year with a new release, and after listening to their recently re-released "Wordless Hope" album I was pleasantly surprised the see the band evolved into a real bulldozer of depressive emotions and still kept variety at a high level, even higher than before. Even Depressive Black Metal bands will have lots to learn from this band, this new album drains you of any and all hapiness you had before the audition... Another excellent feature on "Regression to Nothingness" is the heaviness of all tracks, I'd say imagine the riffs from older Lake Of Tears albums times 10 combined with the heavy emotions from Katatonia, melancholic acoustic guitar parts, Paradise Lost's mourning guitar leads, a fantastic wall of pounding drums, the sorrow of My Dying Bride's tracks and you get Inborn Suffering's latest release, an excellent material recommended to all Doom Death fans. Most probably an album that will last through times.

Author: Adrian
Review
Metalstorm
7.5/10
18.10.2012

Regression To Nothingness is the sophomore effort by les hommes du doom, Inborn Suffering. After taking several years off following the well regarded '06 release Wordless Hope these French doomsters (restating in case "les hommes du doom" wasn't obvious enough) decided to reconvene and crank out another death doom offering.

And make no mistake, Regression To Nothingness is a massive, sprawling death doom offering with seven tracks clocking in over 72 minutes.

It starts out all well enough. The first three tracks are what one might expect of a death doom release on Solitude Productions. The bands are capable, the music sounds solid, well produced, and the elements one would expect of a death doom album are present. Crunching slow riffs which fade to mellower measures at times, guttural inhuman vocal roars played against darkly inflected spoken segments. Like I said, it's all well and good.

Until we come to the fourth track.

Mirriam-Webster (well at least the website with their name, I didn't hold a séance to contact the originals) defines "Apotheosis" as "elevation to divine status." I'm not going to go quite that far, but there is something about the fourth track, coincidentally named "Apotheosis", which has never failed to rip my attention away from whatever else might have been distracting me and just sucked me in. As with the album it starts out fine, then about halfway through an urgent guitar line kicks in, intensity builds, and right about the howl at 6:50 my attention gets got.

It seems from that point on the album, though sounding not terribly different from the prior tracks, just feels more urgent, demanding. "Another World" starts off with what sounds like an attempt at a Bolt Thrower advancing-column-of-tanks riffs through the death-DOOM perspective. Closer "This Is Who We Are" features some uptempo segments and a little fretboard shredding that fits the mood nicely.

Doom is about feel, which is a bit more personal when interpreting and enjoying music, so individual mileage will vary. I just felt that while the first half was good, the second half just felt more compelling and thus more enjoyable. Total score for the album (7.5) being the average between the two.

Author: BitterCOld
Write a review