From hermetic solitude in ponderance of telos and terminus to a steeled wanderer along old forgotten paths Santiago, Chile-based black metal solo act AD FINEM OMNIA appears a transformed being and yet more-or-less similar in expression per this sharpened sophomore full-length album. Reviving the fluidly stroked melodic black metal lilt of their debut ‘Senectus Viae‘ yet finds the band at a point of great singular focus, or, authorship as their work here once again treads into the realm of Franco-Finnish styled dramatic solemnity with a more personal twist of the knife. A test of personal endurance amidst corrosion, this work speaks well to the earned empowerment of the individual in-reign amidst a backdrop of steady extinction.

Ad Finem Omnia first appeared back in early 2020 per a digital single (“Abolish God“) by way of guitarist, vocalist, bassist Ricardo Araya (Immortuus) and drummer Pablo Vera (Selbst live) with the latter having been involved in a variety of extreme metal bands since the late 90’s. As the two founding members of atmospheric black metal band Sol Sistere they’d seemingly started this initially studio only side-project to stay busy during the pandemic + downtime from their main band. Their first single turned out to be a preamble for a demo (‘Demo MMXX‘, 2020) which arrived a few months later, exploring a forlorn style of melodic black metal likely inspired by Finnish and Quebecois bands like Sargeist and Spectral Wound in both structure and voice. Their goal to “pay homage to the classic sound of the ’90s but make it their own” translated to fluidly stated, often dramatic melodic black metal writ in neatly structured arcing pieces. That same general style persists today.

The band’s work as a duo would culminate within a well-received debut album (‘No Peace – No Dawn‘, 2022) where deeper lyrical ponderance, faster-rallied movement and a general refinement of their work in natural progression garnered some reasonable praise. I’d written brief review of it at the time, touting their guitar work per its: “largely consonant and striding phrases which rise and fall with an inspired contemplative grace.” wherein the appeal of the full listen hinged “on the dance of it all immersing, and the intimate yet still performative voicing of the guitar balanced with wrathful distant vocals” all of it arriving with strong conviction and a tuneful hand. Ad Finem Omnia were a name to bookmark for the future but my interest was tempered during a time when their style of melodic black metal was rampant, overflowing from all corners post-pandemic. Returning to that album today I’d say there was some above-average magickry happening therein even if it were overly familiar in voice.

By 2023 Araya had left the band, I assume seeking sovereignty in the years since, but I doubt on bad terms since he mixed and mastered ‘Senectus Viae‘. This means album number two is entirely written and performed by Vera with the exception of one song (“Abolish God”) from their earlier days. Without knowing the songwriting duties for their debut the prospect of Ad Finem Omnia pulling off a similar standard wasn’t an impossibility but one could reasonably head into this experience expecting different vocal expression and guitar arrange. This is generally true but these are points of minutiae rather than transformation as Vera‘s vocals are not only louder in the mix but more of an acidic rasp than Araya‘s with clean vocals (“The Hermit and the Wind”, “Where Existence Fails”) offering the greatest distinction. Otherwise the structuring and cadence of their delivery offer a considerable match alongside the riffcraft, upholding a similar sense of Franco-Finnish melodic black metal phrasing, essentially continuing the thread with a few notable points of expansion.

The face value success of ‘Senectus Viae‘ is retaining some parity with the band’s debut, which admittedly was pulled from a very familiar place to start, with half the manpower involved. The experience otherwise speaks to iteration with some new ideas built atop. This is enough to render a “for fans of” edict of appeal to existing fandom of this style of melodic black metal, the thinking and feeling sort who’re more interested in the nuance available to the form rather than something outwardly different from it. If you’ve shared interest in ‘Far Away From the Sun‘ as it applies to ‘Let the Devil In‘ then Ad Finem Omnia‘s addition to the fold should appear worthy but not exactly lonesome in its face value read. The actual success of this second album lies within its connective search, the intended feeling conveyed within each song per the marriage of lyric and riff.

Whereas ‘No Peace – No Dawn‘ maintained a viewpoint as if granite along a geologic timeline of observance, where all things crumble and renew ‘Senectus Viae‘ twists this meaning toward resilience and defiance. Rather than musing upon the nothingness that will ultimately remain the point of view turns to the insight gained from psychic endurance, a more personalized station if I’ve understood their authorship in any sense. The aforementioned “The Hermit and the Wind” is perhaps lyrically more obvious in its determination and scenery set, an obvious standout piece in any case, but I’d likewise point to “Anguish and Revelation” has a very clear telegraph of meaning and a fine point of linkage between the feeling conveyed by Ad Finem Omnia‘s guitar driven vernacular. If nothing else one could extract a basal steadfastness from these pieces, a “what doesn’t kill you…” type thought. If you are the itinerant escapist who feels nothing, thinks nothing when listening to black metal and are seeking the power of evil, this may not be the right fit.

Beyond some choice interruption from “Where Existence Fails” the majority the second half of ‘Senectus Viae‘ carries the same major thread, droning within its voice while steadily picking up the pace toward the loftier, ambitiously rushed-through closer/title track (“Senectus Viae”). Though Vera never loses his grip upon that central voice of Ad Finem Omnia it all begins to blur together on the way through, tasking said closer to tie things up in a meaningful way. I’d read this as a statement of triumphal sourness at its endpoint, a resignation to fate with vital introspection gained. Granted that is based on my own interpretations sans a lyric sheet. — The takeaway here need not be wholly restated here but existing fans will get an even more thoughtfully achieved follow-up, new listeners will likely appreciate the familiar mechanics of the artists work first before delving into the personal and practical for what stands out. A moderately high recommendation.

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