False memories, glitches in the simulation, vexing déjà vu, ego-death, and the final sparks of brain activity beyond one’s demise spark the minds of Groesbeek, Netherlands-based black metal trio ASGRAUW as they ponder the constructs girding reality and perception on this melodiously thrummed seventh full-length album. In the process of presenting hypotheses, conspiracies aimed at deciphering the eternally churning questions of existential sovereignty ‘Solips‘ embraces elements of atmospheric and melodic black metal’s introspection in service to said theme. The end result is arguably less eclectic than their greater discography’s progression might indicate yet it suffers no lack of mastery thanks to the inspired unbroken thread it twines throughout.

Asgrauw rooted their idealism in (generally speaking) second wave black metal temperament when they’d formed as a trio back in 2010, uniting fellowes behind black metal groups Meslamtea and Libithum, but that hasn’t kept their work from evolving over the span of seven LPs, a split 7″ and the promotional demo (‘Promo 2012‘, 2012) that’d introduced them. Said demo was a mix of punk informed trotting beset by heavy nods to Finnish black metal (Sargeist, Horna), an approach which generally applied to a better realized debut LP (‘Schijngestalten‘, 2012) where their interest in raw, melodic and rocking aspects (see: Carpathian Forest) of Scandinavian/Nordic black metal (re: “Maan Boven De Heuvels”) began to show via a more cohesive line-up and level of performance. That first album was less a blueprint and more a general set of directives that’d not yet included the band’s interest in atmospheric and pagan black metal aspects, ultimately yielding a more sophisticate attack and characteristic melancholia via their second LP (‘Krater‘, 2014). From my perspective they’ve been polishing the vernacular proposed on that second album since, incorporating steadily sharpened self-production, varying levels of riotous vocal performance and atmospheric keys along the way.

The creative self-liberation inherent to Asgrauw‘s longplayer focused process becomes increasingly infused into their theming, offering a progression which naturally invaginates into today’s higher purpose of introspection via ‘Solips‘. This was inevitable and already inherent in previous works but particularly shone in the pandemic/post-pandemic years where angered outburst turned toward bigger-pictured existential questions (‘Oorsprong‘, 2024) before they’ve logically turned to the the nature of existence and reality as concept. Expect the tone of this seventh album to reflect positions of ponderance and paranoia alike where circular questioning, unanswered yearning, and the angst which comes with existential thought are illustrated from eight different perspectives. Though their lyrics deal with everything from false memories to conspiracy theorem the album’s style doesn’t sprawl into as many eclectic tirades as some of their past work and instead serves its central theme with a locked-in style closer to traditioned melodic black metal.

Riff fluttering Franco-Finnish melodic fanfare is just one aspect of opener “Confabulatie” as its pick-scraping roll-out soon incorporates synthesized brass (echoed in the finale of the song, too) amidst ethereally spiraling keys set to haunt the piece through its four minute stretch. The bash through this piece provides a default setting carried throughout ‘Solips‘ in terms of pacing and rhythmic tout though the keen-eared fan of this atmo-melodious style will likely first turn toward the keys for interest, echoing some of the more recent ribald moments from groups like Cénotaphe here and there (see: “Verblind”). This lays a ghostly veil across much of the album experience, a haunted hail which contrasts with the variously dramatic and triumphal conversation occurring within its first ~three or so songs. The effect is immersive, rhythmically rich if not unflinching in its greater channeling.

Though I’d found Side A enough of a spectacle, an event upheld by rhythms which read as indicative of Asgrauw‘s foundational signature alight, there is no question that Side B use that momentum to extend the conversation with slightly more captivating and inventive craft. For the existing fan this is where we find some of the band’s more unique traits packed away, such as the barked dual ranting of standout “Schaduwganger”, but also the deployment of classic melodic black metal traits which are guaranteed to set mine own brain afire. “Manipulatie” ducked beneath the frost-laden canopy first with a couple of its movements but it was “Anatta” that took on ‘Far Away From the Sun‘-esque drumming, carrying its choral keys and shouting rants unto a gust of cold which serves -the- major highlight and peak of the album’s interest for my own taste.

In the process of creating consistent atmosphere, flow and sombre-yet-stoic feeling Asgrauw chip away some of their frayed excesses here on album number seven, ensuring their themed set of illustrations align in central purpose. Though we’re missing some of the trio’s ratty, punk-barked and black n’ rolled edges here ‘Solips‘ should fare well with the average black metal ear for the sake of long-refined rhythmic/stylistic proclivities given such focus. It is a great listen even without a deep course taken through the lyrics/themes afforded but I’d encourage folks to delve a bit deeper into the subject matter if seeking some additional mileage and depth. A moderately high recommendation.

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