A fixated stare into contemplative mysticism surrounding mortality, a spiraling downward-set bout of introspection which begins to admire death as a transformative force of nature, this debut full-length album from Andalusian black metal trio Voidescent tasks itself with sourcing profundity in observation of the cyclic mechanisms of death and life. The vagaries which drive ‘Dust and Embers‘ between states of storm and rest leave the mind echoing with obsessive thoughts represented by jaggedly scaling techniques, blasting obscuration and rituals abuzz with dramatically-stated coldly brutal acts. To the assumed extremist these are arguably expected exaggerations of form and statement, trodden ground in some respects, yet it’ll serve the thoughtful listener well to gauge the depth of this record by the result of the artist’s long-studied and carefully exerted forms which (trace back to the mid-2000’s and) now read as acts of second nature.

The first chapter of Voidescent was written in formative but not unsophisticated script, twelve years under the name Andhord (2005-2017) that’d produced a couple of demos, the second of which (‘Revelation‘, 2011) was skilled and sound enough to document, as well as their first official release the ‘Pleroma of Uncreation‘ (2014) mLP wherein the band had expanded in to a quartet and solidified their line-up. Their sound at the time generally reflects the chaotic, dissonant and wrathful style we find on ‘Dust and Embers‘ today with a declarative vocal cadence from vocalist/guitarist Kvoraph, arpeggiated and drifting chords flexed into verses, a general interpretation of the “orthodox black metal” idea with some focus on atmosphere and dissonance. At the time their efforts landed somewhere between Balmog‘s wandering aggression and some bestial turns which earned them many comparisons to Katharsis, even after transitioning to the new name.

The first release under the new band name will have to be the most important precedence for what we hear on this debut LP to start since they’d move toward heightened professionalism in terms of render and composition on the impressive ‘Eleven Into Nox‘ (2018) mLP where we find copious detail in the guitar and drum interplay where “Conjuration of Unmaking” was the impressive feat upon introduction of this new skin. The tension of its ringing use of dissonant chords was palpable and without providing a major melodic focal point yet that song in general impressed for its clean vocal break. This isn’t the exactly result we get on ‘Dust and Embers‘ but it is important to figure what a reasonable expectation might’ve been after a five year gap.

Of course the opening piece sets the pace for the course on this album, an aggressive wall of wailing mayhemic churn. There is a cyclone of speed and abrasion applied to this debut LP which is frequently storming as we press into opener “Arcane Enlightenment – The Bone Offering”. Somewhere in the midst of this opener our search for precedence pays off modestly with a brief and few cleaner vocal strikes which let loose within the blasting uproar of the second half of the song. There are more inventive and elaborate moments to come but for now we see a new dawn of their sound which is deeper in its layers, obscured but also thrust forth by the violence of its motion. “Black Crowned Triangle” introduces the Katharsis-esque wallop of the band and how the bestial black metal scathe is arguably more relatable to a group like S.V.E.S.T. in some sense as the harsh yet immersive path into ‘Dust and Embers‘ must depict death as entity, force and give sigil to its omnipresence. This is not the most interesting side of Voidescent on this debut but it does show that they’ve got some barbaric aggression lurking behind the wash of hissing noise they bring.

The first piece to truly catch my attention and hold it on the full listen would be “Cauldrons of Sabbath” first for the cold, indecisive crumbling movement of its first half and then the vocal turn they take beyond the mid-point which becomes a haunting blaze-paced dirge with ghostly bellowed vocals reverberating atop the pulse of the drumming. The effect isn’t necessarily Urfaust but has a similar effect as more vocal layers surge in, echoing downward. Whether they are simply making horrified noise or what there is a captivating emotional terror to this piece which separates it from the usual dissonant black metal advance. From that point each piece continues to count for my own taste, creating a similar moodiness on the far more brutal eruptions of “Crosstunnel Descent” and the atmospheric showcase of “The Necrotic Veil“, a song with builds up into a nauseating rant before bursting loose for its last three minutes (beyond ~5:05 minutes in or so).

At this point, all the way at the end of Side B, of course the listening experience of ‘Dust and Embers‘ has either coached you along well or ejected the unworthy by now. Whatever decision the mind wants to make within the first half of the album won’t be swayed too heartily on the second half beyond presenting some new extremes to consider within their repertoire. I’d suggest closer “Venom Scythe Liturgy” is among the best pieces on this record but it won’t be the song to turn the tides for the undecided or unimpressed as Voidescent haven’t hidden any of their hand’s cards, there is no lier in wait and the conclusion may as well be the starting point when fully immersed in the band’s wares. It all plays well on repeat in either case.

Voidescent certainly know what they are doing. I was convinced by this album per the virtues of its first two pieces but this was certainly helped along by the cover art from Vhan Artworks which depicts the ephemeral struggle and the cruelty of the nihil-bound point of view expressed within the album. If there is a harsh criticism to fling in the band’s direction it isn’t their curation of art or choice of sound design (The Empty Hall Studio continues to impress) but I would say that their goal is so impeccably stated in terms of its visual read that there are no major surprises to ‘Dust and Embers‘ unless the listener is already deeply engaged with the full listen, reaching the point of “Cauldrons of Sabbath” was substantial and bloomed the effect of the full listen in a profound way yet it still took a few listens to shake off the initial impression of this being an average dissonant/orthodox black metal inspired feat. As a fan of such things to the nth degree, no foul, but even at my most impressed angle of observation I am left standing just short of a great work. A high recommendation.

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