Psygnosis have been prolific since starting out in 2009, releasing six albums including this one. Their style being described as “atmospheric extreme metal with hints of electronic music, the band comes from the French town of Mâcon, which for those unaware of the fact, is twinned with Crewe. I doubt that this latter piece of information will have any relevance but if it does, I’ll let you know.
There’s quite a mix of styles and moods here on this instrumental work. From blast-beating black metal, “Öpik-Oort” transforms into cello-infused epic melancholy, reminding me of sad Eastern European wastelands. It all then comes together in a heavy metal section before drifting off in a Middle Eastern style haze. The progression is very interesting indeed. The given points of reference for Psygnosis are Ne Obliviscaris, Opeth, Persefone and Dysrhythmia. This can be debated but what I’m hearing is a collection of extreme and ambient-atmospheric soundscapes which develop and tell their own story without reference to others. We plunge into djenty, metal darkness, hitting slabs along the way. All the while it’s laced with the sad strings, expanding into intense exoticism. “Öpik-Oort” is a vivid and colourful sensory journey. The next piece is “Eclipse”. It is another melancholic mix of electronic trip-hop and cello soulfulness. The electric guitar adds power but there’s always a sombre feel and developing majesty about this. Blastbeats and ringing guitars enter the fray as the sadness intensifies. The cello gives way to guitar twangs and a ferocious chasm of deep and deadly sounds. For the first time we hear words in the form of a spoken soliloquy reflecting on the stupidity around him before the piece plays out with a terminally sad and moving string section.
The sadness continues with the gloomy “Sunshine”. Minimalistic and pointedly post-rock in its style and build-up, it is enhanced by orchestral depth. In line with the style’s predilection for developing soundscapes, we become wrapped in the expansion of noise. It is different by virtue of the presence of electronic sounds and the cello, which give it a spiritual and scary sound. By contrast “Caloris Basin” begins with a crashing sound, building its momentum with fiery, thunderous black metal, but still with the haunting melancholic cello sound. Once again there is a powerful ambiance. It slows down and for a while it becomes moody before a volley of explosive metal returns. Breaking out again, the guitar goes wild and plays a flamboyant solo. “Caloris Basin” fluctuates between fire and quiet electronic waves. I guess we are to make of this what we will. It’s not clear to me. The album ends with the fifteen minute “Uranometria”. Starting with a mix of melancholy and electronic outerworldliness, a solid riff takes over and while the sadness remains, the metal strains create a hard crust. The metal is traditional in style, with a bit of djent in the guitar work and with screaming from that cello. It gets darker and heavier, before returning to electronic waves and trip hop hypnosis. The sound gets louder and more imposing with metal chords, as the album comes to an expansive and cosmic end.
“Mercury” follows its own path and breathes. I could suggest that this album is experimental in its composition. Intriguing as I found it, after “Öpik-Oort” I had difficulties conjuring up images from it as it’s not directly of this world and there’s such a progression of movement. It’s hard to relate to and capture as a whole, yet it’s clear that Psygnosis has a broad vision and great power of expression. In turn the album is quiet or heavy, and the atmosphere is impressively melancholic in between the dark and explosive heavy sections. There is a lot of subtlety, and the cello and electronic sounds effects are interesting enhancements. I greatly appreciated that and the range of dark atmospheres that float past us like clouds but in a powerful way.
(7.5/10 Andrew Doherty)
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