It is clear that this Dutch duo, D. Scherman and R. Schmidt, want to inflict a harrowing listen on anyone who cares to partake on either of the albums they have released as this second chapter, as I’ve deemed it, continues the desolation laid down on the first one. You only have to look at the visuals on the cover to gain a hint as to sonic anguish you are to experience as the digipak contains grief stricken grey scale imagery that matches the musical output.
With lengthy tracks the opportunity for experimentation is clear as the duo hurl obsidian malice counterpointed by atmospheric writhing wretchedness. With a very slow fade-in opener ‘The Descent’ matches its title plunging the listener into a chasm of pernicious blackened fury but without any signs of obliterating speed initially until it abruptly swivels into that unhinged maniacal blackened rage we all love about black metal. Yet within its raging intent there is a melodic fervour coupled to stringent tempo changes that are strewn ubiquitously not just in this song but throughout the album.
As I said previously the songs are prolonged but without any signs of monotony each passing second overflowing with riffs, melody and ingenuity as you’ll pick your highlights in each as the atmospheric charm of ‘Opulent Black Smog’ follows with an almost post black aura that twists with schizoid flavour before the detonating malevolence is unleashed. I particularly enjoyed ‘Inertia’, its laid back approach has an almost sleazy style offering slower infectious hooks that creeps through the track before the caustic riff break and expected escalation in speed that rockets the song into feverish dominions. The momentum here is stratospheric allowing the track to elevate with pristine savagery, but it is the precipitous halts in speed that catch the ear and send you reeling, linking in a brilliant hooks that I found hypnotic, piercing the mix in dazzling fashion.
The chaotic title track bursts in, making you wonder what the hell is happening, are all the instruments playing something different until everything coalesces into one seamless assault where that post black attitude I’ve already mentioned comes to the front, briefly allowing the listener to be assailed by an amalgam of frenetic musicianship. However, this album closes with a staggering doublet in the form of ‘Ruin’ and ‘The Introversion Of Sacrifice’ Both these compositions complement each other with the former offering an bleak isolated guitar riff that is saturated in morosity as the drum work amplifies the stark despondency it oozes. With bereft vocals dripping from the song its desolation cannot be overstated as the riffing and pacing is black doom personified, you can feel an intensification bristling from it, each passing moment being electrified, especially when they add a spoken voice to the mix. The finale to the song is soul destroying, there is no surging speed just that despairing desolation that fades as though you’re being driven to your death which contrasts hugely with the closing tune which opens with a corrosive lashing riff. The expected tornadic speed pins you to your seat as the track’s aggressive violence is matched by the threading hook that is added. The track is possibly the most black metal tune on the album but is still inundated with this duos own way of doing things, by incorporating massive tempo deviations that are dropped in without warning adding huge momentum to the tune, but still retaining the core elements of destructive black metal. What is different however is the way the song dissolves in its finale as though you come out of this second chapter by Wesenwille somewhat wiser, somewhat wearier and definitely disfigured as it fades with an ambient sequence.
At its core Wesenwille’s second album is black metal but they are so much more than that, an experimental expedition through despairing depravity yet riddled with wistful and woeful melancholy.
(8.5/10 Martin Harris)
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