Vesania – Deus Ex Machina (Album Review)

VESANIA-2014

To exist among those whose creativity knows no borders, whose talent cannot be confined, is to live by way of the musician. The endless grind of fulfillment through art, drives such men and women to conquer the summit of composition with unforgiving force. Built by members of Metal’s finest bands, lacing deep tradition with aberrant convention, Vesania yields new definition to the trifecta of talent. The Symphonic Black Metal band has already stood the ultimate test of time and ventures into new label territory with Metal Blade for the release of fourth album, Deus Ex Machina.

Founded in 1997 by Tomasz “Orion” Wroblewski (Behemoth), Vesania is the patient survior of both success-filled and dormant years. During early times, Vesania gained a solid fanbase overseas, releasing three full-length albums and supporting tours to great European acclaim. After Orion joined Behemoth in 2003, the bassist began a whole new musical endeavor. While downtime is minimal in a band such as Behemoth, Vesania had an insuppressable voice of its own. Orion’s first band had certainly not been replaced, and after remaining silent since 2007, Vesania’s calling could be mute no more. Resurrecting members of fellow greats, Dimmu Borgir, Vader, and Decapitated, Vesania had risen. The current lineup includes, Marcin “Valeo” Walenczykowski (guitars), Dariusz “Daray” Brzozowski (drums), Filip “Heinrich” Halucha (bass), and Krzysztof “Siegmar” Olos (synth/samples).

Titled from the Greek translation “God from machine”, Deus Ex Machina coelesces a venom from symphony and synth. Opening track “Halflight” sears an immediate brand in the belly of vast sound. The enormity of the sound—no matter where it is heard—melts foundational structures into skeletal toothpicks as the song courses into unknown oblivion. Such immense sound is further complemented by anthemic drums and synth strings; incorporating bass and guitar as a single, monstrous instrument. Following suit, “Disillusion” begins broadly and gathers speed through complex guitar and vocal marriage. Yet, it is the use of severe-growl to clean vocals that signifies balance in versatility and unique approach.

“Vortex” could be none other than its namesake: snarling the lyrics “you’re the contamination of earth,” relentless speed becomes an instant spiral. Samples and acceleration truly make this song, spilling an unknown story beneath such rapid paces. With the sound of racing hoofbeats and distant cries, the song concludes in gradual writhe. Final track “Scar” offers the lament of guest vocalist Zofia “Weilebna” Fras of Obscure Sphinx. The sandpaper rasp of Weilebna is shadowed by Orion’s deep growl, matching inflections with fury towards a “crumbling house.” Sheer wails layer a theatrical background of strategically messy samples, and although a bit scattered musically, the lyrical content of “Scar” holds heavy substance.

Vesania’s devotion for Deus Ex Machina is strewn among the tracks: raw, original, and innovative. While new ventures are always a risk, the band’s collective ear has not wavered and is used wisely throughout their years of accomplishment. The wait was long for new material from Vesania, but proves to be well worth it. Deus Ex Machina rivets new character through synth, while protecting the Black and Symphonic Metal seeds that were sowed long ago. CrypticRock gives Deus Ex Machina 4 out of 5 stars.

Metal Blade

Like the in-depth, diverse coverage of Cryptic Rock? Help us in support to keep the magazine going strong for years to come with a small donation.

Catt GarciaAuthor posts

Avatar for Catt Garcia

No comment

Leave a Reply

Your email address will not be published. Required fields are marked *