This is a magnum opus of a piece of musical work, and I guess so is my review, I can't help the challenge to analyse, or try to. However, for this to be listenable, and that is quite a feat in itself, you will need to be broad-minded. If you like Manson, NIN, electronic, ambient, minimalism, emotionalism, classical you will find something here to soothe your aching soul for sure. If you dislike any of the aforementioned genres you will also find tracks you don't like. There is, and I suppose could only be, a huge diversity of sound taking place in this album. Hope I don't bore you with my words, but I guarantee, if you fit the above criteria, you will not be disappointed.
Silence is a poignant piece, nice intonation, lilting piano strokes to set it off and whispers its rhythm, with a touch of bassness. Builds well and holds its poise throughout. Strong silence.
Solitude And Sorrow is straight off the mark, with harsh male vocals expressing the very emotions well. I'm not big on vocals, but it is a nicely constructed track. Sweet suffering.
Cold clatters into existence and encourages a gentle melody that is overcome by dark blasts of noise. Drums come in to mark out the pitch and we are off. It steps down and disappears.
8 begins organistically, with clattering rhythm and the ringing of bells. Then we have a bass break and return to the track all in, at a slower pace. Another bass break with added synth and slowly it returns, with symphonic allusion.
All Is Vanity deepens the tone with piano and a build up of rhythm and melody to the male vocals again, with a similar tone, quite harsh. Backed by synth at its peak. Then things calm a bit though he does not sound any happier about things.
Play Dead is suitably moribund in delivery, really nice atmosphere, dark and eerie. I love the minimalism and think the instrumentation is spot on and suits the title eminently. Love the big, swirls of sound towards the end piece. Nice movement.
Sweet Suffering (honest I didn't even read the track list) is a curious, turn up for the books. The vocals are growing on me now, I think I'm getting into this particular groove. Are we listening to a Hellraiser fan. If so, spot on. First film was mint and I love his Books of Blood.
Divine alludes to the symphonic poise with drumbeat. Quite mild to start, with variation with percussion. Divinity is just the other side of the coin, I guess.
Fuck You creeps up darkly and almost overwhelms you, but then it calms but remains a potentially savage beast. Harsh vocals enter with a dark melody, distorted, painful, angry. The track almost grabs you by the ears and shakes your head with frustration. Then more vocals with the soft piano for contrapuntal drama. Then craziness returns.
Judgement Day is a trudging rhythm with clanging chains, again dark and negative in feel. Dispassionate. I fades almost completely, then elements begin to return. Was the earlier sense of divinity enough? Then there is a dramatic upturn in sound, which gives us hope of salvation. With an ending like this, I'm not so sure.
Déraison is mournful from the outset, not a cheerful track and it seems the pain remains, or is at least being expressed, perhaps pleadingly. After such a day...
Rebirth is almost mechanistic in rhythmic form, and the deep melodiousness brightens as a beat steps in. This sounds more optimistic, another chance, another opportunity.
No One Else Knows sounds industrial still, then it is suddenly a fantastic piece of electronic music, perfectly balanced, strong. The vocals return. The track reels for the chorus and then goes solo. Then there is a shift to a wonderful techno soundscape. Re
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