A seeking mist-borne darkness hailed down from the northern shores this debut full-length album from Viana Do Castelo, Portugal-based black/death metal quintet VØIDWOMB concerns itself with a sojourn toward the “divine”, some manner of enlightenment or transcendence of the flesh as it phases between states of matter in real time. Unpredictable and even self-interruptive when the opportunity strikes there is some manner of amorphous non-corporeal quality to the affect which these folks bring to ‘Spiritual Apothéosis‘. This sensation of uncertainty of form allows their work to prod the mind with its wraithlike fingers and vex beyond an otherwise atmospheric death-tinged, motorized push toward occult black metal muse without ever settling into any one definite groove with any security. Restless but not rawly challenging, green in practice yet wizened in its vision this album entertains for the sake of its mystic uncertainty and slow-to-reveal yet entirely attainable experiential value.

Vøidwomb formed as a quartet circa 2019 with some involvement in their regional underground black and death metal scenery shared among their rhythm section. That rehearsal line-up quickly expanded to a quintet before they had set any expectations for their sound, an amorphous combination of modern underground black and death metal traits seeking its own path. The amorphous quality of their work was the main talking point when the initial result of their efforts, an mLP (‘Altars of Cosmic Devotion‘, 2021) released and thier directive was clarified as sub-genre agnostic but with some self-evident points of inspiration (Bølzer, Inquisition) and a general blackened death metal setting. I’d reviewed their first release with some enthusiasm for the overall concoction, placing it among the best of the month and suggesting the uncertainty of forms kept things interesting while noting that this was clearly the product of folks who are active in their fandom of black metal, death metal and all of the possibilities one can bring to personalize said foil. Though there were some still roughened edges to their work this was perfectly acceptable for a debut release and clearly had been conjured by folks capable of curating and crafting a serious release, the potential was there.

The journey is the reward as we attempt to grasp meaning within this ephemeral passage through time, all flows past quick and in plumes of majestic motion as the surrealistic, sometimes unpredictable movements of ‘Spiritual Apothéosis‘ slowly gain ground in presenting vignettes which feature no concrete structures to rest upon throughout their duration. From the tentatively stated crest of instrumental opener “Exordium” and the battered step into “Metempsychosis” Vøidwomb are steady in developing a texturally rich black metal inspired sound with a death metal braced rhythmic force at a half-burst pace. Their initial roll into view speaks to a heavy metal stride before the modern psychedelic eerie of the song creeps in, shrieking and spasming between several different riffs and modes in laying out a thrilling enough course to follow. I think back in 2021 I’d labeled the band “empyreal” death metal for the sake of a certain declarative affect per the vocalist’s range and their emergent, interruptive rants. This still generally applies to their work today as there is always something lurking around the bend in their restless movement. Just enough of their exploratory drift and declarative motioning repeats that the song only just sticks in mind as an opening salvo, setting the tone without directly relating to the kinda blah thrum of the black metal centered piece (“Black Putrescence”) that follows.

Presenting a maze of ranting, sometimes tuneful sub-genre mélange with unpredictable affect does well to create the sensation of reaching for deification, some manner of transcendence beyond the utter dark of existential dread as ‘Spiritual Apothéosis‘ begins to fully spread its wings of its bestial pummeling, gnarled black/death inspired guitar whorl and expressive vocalist yet the big ask of the listener is patience in the scope of this reveal. The aforementioned “Black Putrescence” for example takes a few minutes to rev its engine and only appears to hits its moderate stride near the end, making for a raw atmospheric prospect but an entirely uncertain and relatively flat point of passage as the timer for Vøidwomb‘s first impression begins to tick away at this point. What works in passage doesn’t necessarily hold up to isolated analysis in this case but as we move onto “Liberation” and the psyched-out Side A endtro “Interludium” attain the tonal goal and extended reach suggested. Though the opener had suggested painstaking density might be a major feature of this album at this point we can recognize their knack for atmosphere and simpler methods for achieving a restless sensation of movement.

The bleak slurry of the self, extruded. — The most crucial section of the album for my own taste begins on Side B with the seven minute “Vesselvoid”, a potential centerpiece when combined with the brief but immediate tunefulness of its follow-up “Azoth”. Naturally this introduction to the second half of the album brings some energetic parity of experience with the opener in terms of bringing back some faster pacing, interruptive riffs and a revived sense of shifting sands. It also begins to outline the greater destination of the lyrical theme as we vacate the container, make the grand exit from the physical and merge with the unknown. “Azoth” is probably the most crucial part of the album turning at least one last corner with gusto and at least one effective riff in hand even if the song itself feels unfinished and pulls a quick fade out. When factoring in the satisfying conclusion offered by “Coagulation” and the easy loop back toward the opening half I wouldn’t suggest ‘Spiritual Apothéosis‘ completely floored me but I -was- entertained throughout each full listen.

Though I was impressed by the ease and in-touch vigor with which Vøidwomb presents this debut album it is yet a starting point held together by raw enthusiasm and does not yet represent total mastery of their intended vision. The superior qualities of a song like “Metempsychosis” aren’t fully replicated often enough to truly impress throughout and unfortunately those opening moments set the bar up front. Otherwise the experience on offer features plenty enough raw edges and unfinished thoughts that they’ve some myriad reasons to continue on and refine their gig, and none of this impedes the surreal yet strident value of the ride through; Perfectly suited to make a first impression of this alchemical search beyond the self via occult black/death metal reach cover artwork from Daniel Hermosilla (Nox Fragor Art) rethinks traditional symbolic depictions of azoth while catching the eye with grey, black and bloodied fuming imagery. Taken in as a complete experience there is some considerable linkage between aesthetic, lyricism/theme, and the music itself which speaks to wisdom beyond their years as a band thus far. A moderately high recommendation.

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