My first encounter with this German outfit was 15 years ago when I accidentally picked up ‘Ave End’. Something I was rather glad to have done, after I gave the CD a listen. Since then I’ve reviewed a few more of their albums, the last being ‘Antiadore’ 5 years ago. With a new line-up they have released a new record, focused more heavily only melodic doom making this album feel almost goth in many instances, but retaining enough of their doom-death to keep me more than happy.

Returning guitarist Oliver Nikolas and drummer Dominik Scholz are joined by new vocalist Julian Larre, and they immediately put him through his paces on “I Knew And Will Forever Know”, where his layered vocals work exquisitely, as the mournful whispers fall into the death growls via the more anguished singing, also showing his range from deep gothic doom to much higher notes.

“Celestite Woman” is a complete step up in pace with its allegro feel, and deep vocals capturing a happy tone that match the steady bass and accompanying drums.

The gentle guitars caress the bitter sweet clean vocals before “The Kingdom Solicitude” gets into the full swing of the chorus with death growls and appropriately heavy guitars, then falling back to another gentle verse and heavy chorus, showing they are able to flit between the two without effort.

Slow, but uplifting is “Mother Of Doom”, with its infectious bass rhythm and catchy guitar melody and perfectly matched soaring vocals that tug at heartstrings.

The video for “Father Of Fate” is simple in its beauty and allows you to focus more on the music as it builds from slow and heady to only slightly faster but heavier as the vocals move from clean to growls without missing a beat as the drum pounding becomes more intense as the song progresses.

The video for “Like Screams In Empty Halls” is far more involved, but then so is the song with  chunky guitar riffs over the slow and steady drumming and low and gloomy clean vocals to add the required ominous element.

Picking up the pace ever so slightly is “The Reaper”, even though the slow and gloomy vocals do detract from any chance the song had from being happy, but the lyrics saw to that too.

“After All Those Infinities” on the other hand is happy and energetic both musically and vocally, as a complete antithesis to the lyrics.

Julian’s deep voice raises slightly to hit some higher notes for the chorus of “A Sip Of Multiverse” before returning to its sombre croon for the verse while the laconic guitars and drums lull you until Oliver’s melodic lead kicks in to give the song that added spice.

They end the album with the “A Sleeping Throne”, which is filled with intricate drum patterns to complement the guitar riff and sweetly sung vocals.

Definitely an enjoyable album, especially during a gloomy summer’s day.

(8/10 Marco Gaminara)