The dignity afforded those who persist long enough in their convictions to forge wisdom ultimately proves fragile as anything else. As one withers down the pipeline of existential thought the realization of dissolution naturally demands reflection upon purpose yet when it comes time for a great work, principled civic action, or what have you… where exactly are we left when all eyes are blinded and nobody is listening anymore? In the time-worn hands of Esslingen, Germany-based doom metal quartet MIRROR OF DECEPTION there is fortitude to be gleaned from the reality that all is finite, all is transient by nature. On the long-standing troupe’s sixth full-length album, ‘Transience‘, this thought isn’t in service to nihil but instead posits the acceptance of mortality as just one part of a life examined. In the long walk toward the endtyme we dirge on alongside their signature form of doom metal, a 90’s spawned character built through decades of adaptation and self-driven refinement.

Mirror of Deception formed circa 1990 as one of the first doom metal bands from Germany, apparently the pre-Dawn of Winter band Cemetery were first by a matter of months. Forged with an unorthodox approach in mind during a time of great sea-change within the sub-genre it’d taken a few years for the band’s lineup to solidify and it wasn’t until 1994 that more substantive demos had been produced. Very little of the band’s 90’s output is available at present but with the ‘Words Unspoken‘ (1994) tape you’ll get the sense that the band’s ideas were ‘far out’ as those of Revelation at the time but with some of the emotional resonance of earlier Solstice. Luckily most all they’d put into those first ten years would be included on the distraught ‘Mirrorsoil‘ (2001) an underrated debut, particularly if you’ve any love for earlier Rise Above-stamped doom or the few picked up by Rich Walker‘s short-lived Miskatonic Foundation imprint. The roots of this band are entirely worth exploring for fans of 90’s underground doom metal excepted from the extreme metallic and gothic affect common of the time, a reissue of their demo compilation would be appreciated.

To reiterate a point I’d made back in early 2019: “[Mirror of Deception] retain all of their personality regardless of which album you’ve landed upon.” and yet theirs is a complexly woven identity which consistently pulls it’s sonic sensibilities from their point of origin while accommodating a number of shifts in their rhythm section over the years, notably circa 2003 and 2014 (more recently 2024) as change became necessary. Without speaking on each of the band’s albums I’d recommend ‘Foregone‘ (2004) as my personal favorite per a bit of nostalgia (esp. “Deception Island”) as well as ‘A Smouldering Fire‘ (2010) for the sake of its bonus disc containing Bathory and Saint Vitus covers which respect the originals while conveying their own personality loudly. Spending some time with each should equip folks well enough for the path forward but the epic yet crestfallen timbre of ‘The Estuary‘ (2018) might be the most important context to grasp from Mirror of Deception‘s past as it was one of their more polished and ambitious releases to date.

Memento mori. — Though it’d appear ‘Transience‘ is a meditation upon death and impermanence that is only part of their sentiment. Though I’ve only divined the lyrics by ear within reason here it appears the larger statement resolves to soldier on, adapting to the course of life. Longing and sorrowful singularity have long been at the heart of Mirror of Deception‘s lyrical voice but moreso, as their name dictates, a cause for introspection which acknowledges the ephemeral quality of existence rather than wallow in it. The listener should ultimately glean an acceptance of fated dissolution, acknowledge the moment in passage of time and remain mobile and “make the best of it” as suggested. Doom metal lyrics so often lack any real conundrum and resolve in this sense, so, these words ring as well-worn wisdom rather than desperate or ruptured reactions to existential dread.

The subject matter suggested naturally dictates the verve of ‘Transience‘ resembles a gloaming procession, and it largely is per its slow trundling step, yet the experience is not without bursts of melodious epiphany, exasperation, and grinding lows. There is a bit of everything described in a few key songs here, “Consumed” in particular but perhaps the shorter encapsulation of “Haven” where both songs find both sensitivity and growled lows as part of their path. The weight of words and the patience of their work only seems to intensify on Side B (or, the second half) even reaching a point of anthemic touch via “The Sands” but the potency of Mirror of Deception‘s hand mostly digs in via the first handful of pieces.

“Death, Deliver Us” is well-set as the opener, a driving melodic doom metal piece with a sort of dark metallic but also ‘New Dark Age‘-esque searching gloom hanging over its entrance. The progression of the riff and its accompaniment of the main verses is both sombre and conversational in development of the song’s first ~four minutes while still allowing plenty enough room to flex a few details for effect, such as the bass interlude nearby. The sonic reach of ‘The Estuary‘ is surely there outright, all performances are nigh thunderous yet organic enough in their capture in the same way here, but the tone of ‘Transience‘ has shifted to resilience and (again) a state of wisened revelation.

From (the mountains to) the river to the sea “Currents” is one of the more remarkably writ pieces here in that it engages with some immediacy, wringing out the somewhat complex vocal harmony it begins with before ambling into an uncertain state of despondency throughout its middle portion. Though I’m not sure a description of the subtleties found within this song, and perhaps a few others, will read as profound on paper the nuance available to Mirror of Deception‘s work here all contribute toward the gravitas they’ve so brilliantly sustained throughout the full listen; Without taking anything away from the final two pieces here I would reiterate that the first five or so songs on ‘Transience‘ reinforce the band’s ability to carry tonal sentiment throughout a work with great consistency. I’d found this the most engaging, fixative portion of the record anyhow.

Though it’d been quite a few years and they’ve a few new fellowes on hand the return of Mirror of Deception only continues to build upon their good reputation with ‘Transience‘. Boons to production and meaning aside it is yet a lumbering, heavy feat of doom which somehow it lands as effortless compared to most any other peer extant since the early 90’s. No doubt their efforts will be too melodic for some and perhaps not riff-active enough for others but in terms of carrying on long-held values, a surety of self, in earnest there’re few as consistent. A high recommendation.

https://mirrorofdeception-doom.bandcamp.com/album/transience

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