inherus-beholden-reviews

Review from Blasted by Britton

Fri, 31 Jan 2025 19:28:58 +0100

From: Blasted by Britton

Published: December 24, 2024

Next up from the stack of CD’s Hypnotic Dirge sent me is the lone album that New York’s Inherus has put out thus far. “Beholden” took me a few listens to get into, but when it clicked, it clicked well.

Note: I’m not a fan of almost all Doom. I grew up a lover of Thrash, Punk and Death Metal, so the speedier the better. Even the older Doom Bands I love are speedy themselves, Like Candlemass. I like My Dying Bride, Saturnus and a few more. Not many. As I have aged and especially since I have gotten back into reviewing albums, I noticed myself liking Doom Metal more and even giving good ratings to (Gasp!) some Funeral Doom albums. Tastes change, I guess. And the newer Doom bands inject a lot of unique ideas into their music. Inherus defines themselves as Doom/Post-Metal. To me, they sound like Doom with some Death/Black Metal vocals. More on vocals later! Very rarely fast paced, “Beholden” runs from slow to mid paced in speed and it is almost a mesmerizing style of Metal that relaxes me. What makes them unique are the “post” elements which have a lot of almost acoustic or at least non-distorted breakdowns and some amazing musicianship. “Post” is a sound to me, but it’s hard for me to explain what that sound is. Every member is great at what they do here, but man, the bass really shines through.

The vocals are mostly female and sung in a beautiful clean way. Beth Gladding found a way to sing Doom without putting me to sleep! Lol. There are some male Death/Black Metal vocals here and there and they are well done too. The lyrics are well-written and seem to revolve around lost love and longing.

“Beholden” has a great sound due to a great mixing and mastering job by Mike Uscifer. It’s perfect for this music.

The cover art shows a cloaked woman riding an Elk through a forest. Her hood is on fire. Someone needs to tell her about stop, drop and roll! It’s done in shades of purple and black and is pretty damn cool. Great work, David Paul Seymour! The panels on the inside of the digipak have all of the lyrics, a band photo and album info.

I hope to hear new music from Inherus soon as “Beholden” is an album I should not like but actually love.

Rating: 8.5/10

Review from The Sleeping Shaman

Thu, 22 Jun 2023 21:17:50 +0100

From: The Sleeping Shaman

Published: June 19, 2023

Original Link

Three years ago, during the middle of a pandemic, needing something to occupy my mind beyond confinement with my then five-year-old daughter, I submitted my first review as a reviewer for The Sleeping Shaman. At the time, I had no real awareness of where this new journey would lead me, but as a fan of heavy music for over thirty-something years, I always felt that I had it in me to at least talk a good album. Since then, I have reviewed some phenomenal records, interviewed some truly lovely people, and have witnessed some live performances which I would have otherwise been completely oblivious to, if it wasn’t for The Sleeping Shaman.

Jump forward three years, and for my anniversary review I have the absolute honour of reviewing the debut album by New York four-piece Inherus. Now, even though you may well have no knowledge of the band, if I were to say the band features members of Forlesen, Witchkiss, Swallow The Ocean, and Lotus Thief, I’m sure the response would be a resounding ‘oh I know them’…. Well, I hope so anyways.

So, what we have here is a melding of those elements and the unleashing of a brand-new band, a sum of its parts you could say as the album is both doom laden and post-rock in equal measures, with a dark ambience thrown in rounding out their sound.

Beholden is six tracks and comes in at just around an hour’s worth of music, so it’s got some bang for your buck. It’s a goliath of an album, which when played doesn’t even feel like an hour in length. It’s a truly engaging, brutal assault on the senses, coming from not one, but two angles. I say this because for every heavy element – the growls, the blast beats, and the chaotic guitar breaks – there are paralleled moments of lethargic ambience, and a deep passion in the music, which transcends genre and category.

The first two tracks, Forgotten Kingdom and One More Fire set the stage. The former and album opener, hits right from the off, and leaves no confusion on just what this band is capable of. Hard hitting and abrasive, its predominantly driven by a harsh guttural vocal against a background of thunderous drum, and ferocious guitar work. By the same token, it only seems to ease off every time Beth Gladding’s vocal comes in, its like having hard edges, with a soft gooey centre.

One More Fire offers a ying to the yang, and where abrasiveness is the name of the game on the opening track, with track two, it’s all about that other side of the band. It feels deeper, less instant, and without so much of that throat punch feel the opener provides. Again, there are peaks and troughs, and each time the growled vocal comes in, the atmosphere changes to suit.

Not to lessen the first two tracks, but it’s three and four where I really fall for the band. The Dagger is a slower paced, and warmer track for me. Beth’s vocals are what I find joy in throughout this whole album anyway, but here it is sublime. There is a truly insane soaring guitar solo too which needs applauding specifically. This track is, for lack of any better description, simply awesome.

Oh Brother, track four, does nothing but solidify just how incredible this band are at catching that all-encompassing, soul filling goodness which we all look for within our music. At times it reminds me a little of one of my long-time favourites, EMBR, with the exception of the vocals, which is softer, and more pensive in tone. All the way through this piece it showcases how wonderful this band are, each musical element is fantastic, and the overall outpouring is justifiably superb. I also find with this track, that the use of combining the vocal elements works better than separating them out, and while it does drive them towards Lacuna Coil territory, it’s more unique in texture.

While the instrumental track Obliterated In The Face Of Gods offers a moment of respite, it only serves as to get the listener ready for track six, Lie To The Angels as its where the band throw everything they are into the mix, and my god, is it something wondrous.

After a funky little guitar introduction, the other instrumental elements crash in and lift this up into the stratosphere. The mix of vocal styles is more organic, which is a bonus for sure. The breakdowns give an opportunity to explore for one last time those more ambient elements, and for me, that’s a real win. By the final third you know it is gearing up to an apocalyptic finish, and it really doesn’t disappoint. Everything, from blast beats, to growled vocals, and those heavy abrasive factors kick in to push it over the edge. All that’s left is one final hurrah, and this comes courtesy of Beth’s vocals as it slips away into nothingness.

Initially apprehensive, Beholden has grown and grown with each listen as I take more and more from it. Coming away, I would feel safe in saying that this is truly a new benchmark being set, and if you get a chance, don’t shy away, as Inherus really are something incredible.

Reviewed by: Lee Beamish

Review from Rocking.gr

Thu, 22 Jun 2023 21:16:16 +0100

From: Rocking.gr

Published: June 16, 2023

Original Link

Σε μια συγγενική ηχητική κατάσταση με μπάντες όπως οι Forlesen και οι Lotus Thief - με τους οποίους εξάλλου μοιράζονται δύο μέλη - οι Inherus παραδίδουν ένα αντίστοιχα πολύχρωμο και πολυστιλιστικό έργο. Το doom είναι μάλλον το κυρίαρχο στυλ εδώ, οι έξι μακροσκελείς συνθέσεις όμως έχουν άπειρα στοιχεία παρμένα από ατμοσφαιρικά και ψυχεδελικά ακούσματα, χωρίς να λείπουν και οι πιο extreme εκρήξεις που γλυκοκοιτάζουν το post black metal. Όλα αυτά τα ωραία παρουσιάζονται με τρόπο σφιχτοδεμένο και συνεκτικό, χωρίς να ολισθαίνουν σε υπερβολές. Δυνατό σημείο τα φωνητικά της Beth Gladding και η αυθεντική διάθεση του γκρουπ για περιπετειώδεις συνθετικές δομές, αδύνατο σημείο η μάλλον φτωχή παραγωγή - αν και για να είμαι δίκαιος αυτό δεν επηρεάζει κάπου την μουσική. Κατά συνέπεια, οι Inherus δημιουργούν έναν αξιοπρόσεκτο δίσκο που έρχεται να προστεθεί στις αρκετές ενδιαφέρουσες experimental doom δουλειές που έχουμε ακούσει τα τελευταία χρόνια.

Reviewed by: τον Αντώνη Καλαμούτσο

Review from Metal Storm

Thu, 22 Jun 2023 21:14:24 +0100

From: Metal Storm

Published: June 15, 2023

Original Link

Across the likes of Lotus Thief, Forlesen and Botanist, Beth Gladding (aka Bezaelith) has demonstrated an inclination towards music that is atmospheric and/or unusual; her latest project Inherus continues this trend.

Gladding joined a project initially formed by Anthony DiBlasi (Witchkiss), Brian Harrigan (Swallow The Ocean) and Andrew Vogt (Lotus Thief, Swallow The Ocean), and the sludgy, doomy natures of Witchkiss and Swallow The Ocean give a good indication of what this group have come up with on debut release Beholden. Clocking in at an hour long with only 6 songs (one of which is a brief interlude), we are very much in Long Song Territory, and these long, generally slow tracks have a clear emphasis on complex atmosphere and texture.

Stylistically, this album could potentially be classed as ‘post-doom’, in that there’s a doomy undercurrent running through the record, and also various elements of song structure and instrumental approaches from post-metal, but it has more in its arsenal as well. Opening track “Forgotten Kingdom” doesn’t really sound like it’s in either camp when it starts with a straight-up rocking sludge riff. There are some subtle tremolo layers woven into sections of the song, but it’s only really later on that it moves from such a conventional approach towards something more intriguing, as it segues into a gloomy, soft atmospheric midsection that crescendos towards a post-metal climax.

There’s three vocalists on this album, with everyone bar drummer Andrew Vogt chipping in. The two male vocalists both opt for extreme approaches, whether growls or higher-register rasps, but it’s really the sections in which Gladding contributes that come to define one’s impression of the record. There are certainly hints of Lotus Thief’s sound in songs here, but something about the understated, ominous cleans amidst doomy, sludgy soundscapes makes one more inclined to think of SubRosa, even if there’s no strings to be heard. The music here isn’t necessarily always gloomy in the same way SubRosa typically were either; parts of “One More Fire” are almost uplifting tonally between the tender vocals and soaring guitar leads (although the gnarlier riffs and harsher vocals later on put paid to some of those thoughts).

Those harsher moments do feel less prevalent as the record progresses; the dark-sounding closer “Lie To The Angels” does have some segments that flirt with death/doom with the slow riffs and cavernous growls, but outside of those sections the last few songs emphasize Gladding’s sections more. That’s not to mean that there aren’t heavy parts still; outside of the growling doom moments in “Lie To The Angels”, there’s a part later on with rampaging double bass rolls and sinister guitar leads that remind me a bit of Wolvennest’s The Storm EP, aptly ratcheting up the intensity while the record powers towards a climax.

In between, there’s a bit more chance for minor experimentation, as Inherus dabble with sounds closer to prog and alt rock; “The Dagger” is framed around post-metal structures with some resemblance to Eternal Kingdom-era Cult Of Luna, but its latter stretches feel closer to atmospheric and gothic rock, particularly when first gothic-style guitar leads take centre stage in the mix, and then Gladding’s haunting refrains subsequently take over. “Oh Brother” also has some ear-catching guitar leads, but they’re more bright-sounding than those on “The Dagger”, even if this song otherwise relies more on crunching heaviness and backing extreme vocals.

Beholden is a really solid first outing for Inherus, one that has a familiarity to it without falling comfortably into any one category, and it also has the quality songwriting to go with the creativity. There’s no duff tracks here, but perhaps there is some padding here that could be trimmed, given how lengthy the album is; “One More Fire” and “Oh Brother”, despite bringing a necessary sense of levity that’s otherwise absent from the tracklist, are a bit less consistently engaging than the other long tracks. Still, there’s nothing here that is ever actively detracting from the experience, and when Inherus are truly on song, such as with “The Dagger” and “Lie To The Angels”, they're just as compelling as you’d expect them to be, based on the talent they have in their ranks.

Rating: 7.8/10

Reviewed by: musclassia

Review from Metal.de

Thu, 22 Jun 2023 21:13:03 +0100

From: Metal.de

Published: June 14, 2023

Original Link

Metal aus New York? Da dürften die ersten Assoziationen klar sein. BIOHAZARD, du bist gemeint! Das auf „Beholden“ von INHERUS ein anderer Wind weht, dürfte beim Anblick der mythologisch angehauchten Flora und Fauna des Artworks obligatorisch sein.

Mit links kurz angetäuscht, mit rechts locker verwandelt – INHERUS gehen den Weg des langsamsten Widerstands

Mit dem Opener „Forgotten Kingdom“ startet das Debütalbum der New Yorker, mit Blick auf das gesamte Album, fast ein wenig untypisch. In den ersten Minuten regiert der Post-Metal mit harschen Vocals. Erst etwas später springt der Opener beherzt in gediegenere Geschwindigkeiten und lässt Beth Gladding (LOTUS THIEF) das Steuer übernehmen. Etwas unerwartet findet der Hörer sich sodann im sehr atmosphärischen Doom Metal wieder.

Und dieses Genre beherrschen INHERUS wirklich ausgezeichnet. Stimmungsvoll und mit einem hervorragenden Gefühl für Melodien wickelt die Band jeden Doom-Befürworter locker um den kleinen Finger. Gerade weil „Beholden“ bei aller Liebe zum Doom verdammt abwechslungsreich ist und auch härteren Klängen immer wieder Raum anbietet.

Dabei zeigen INHERUS durchaus eine gewisse Affinität zu nachhaltigen Ohrwürmern. Nach dem abwechslungsreichen Opener setzen „One More Fire“ und „The Dagger“ auf große Momente und wirklich anhängliche Melodien. Ein kleiner Tipp für den ersten Hörversuch: Es könnte angebracht sein, den Opener zunächst zu skippen und im ersten Schritt in die beiden genannten Epen des atmosphärischen Dooms einzutauchen. „Forgotten Kingdom“ weckt als erstes Stück leicht falsche Erwartungen an die musikalische Grundausrichtung der folgenden überlangen Stücke.

„Beholden“ ist ein Debüt mit Substanz

Klar, bei aller Liebe zum Doom, „Beholden“ ist auch ein modernes Album geworden. Alan Douches (FLEETWOOD MAC, MONSTER MAGNET) sorgt als Produzent für gehörigen Glanz auf dem Köttel und das muntere Spiel mit den Genres beweist ein hohes spielerisches und kompositorisches Können. Der ganz große Pluspunkt gelingt INHERUS am Ende des Tages aber mit den atmosphärischen Parts, welche das Debütalbum der New Yorker nachhaltig prägen.

Rating: 8/10

Reviewed by: Stefan Wolfsbrunn

Review from Grind On The Road

Tue, 13 Jun 2023 10:19:33 +0100

From: Grind On The Road

Published: June 11, 2023

Original Link

Non si può certo dire che in casa Hypnotic Dirge Records abbiano lesinato sul senso di vertigine, fissando l’altezza dell’asticella delle attese nel booklet che ha accompagnato l’arrivo in redazione dell’album di esordio di un quartetto su cui evidentemente la label portoghese/canadese ha deciso di puntare carte importanti, ma, oltre ai doverosi e meritati complimenti per la qualità formale del booklet (tutt’altro che scontata, in un circuito in cui troppo spesso presentazioni e informazioni di contorno sono considerati un inutile se non fastidioso e prescindibile orpello), va detto che raramente come in questo caso l’ascolto di un disco ha tenuto assolutamente fede a promesse e annunci più o meno roboanti.

Stiamo parlando degli statunitensi Inherus e davvero non ci stupiremmo di ritrovarli tra le nomination in sede di consuntivi di fine anno, con più che concrete possibilità di aggiudicarsi un premio nella categoria “debutti da applausi”. Per la verità, è bene ricordare che ci troviamo al cospetto di musicisti tutt’altro che alle prime armi e già temprati da cimenti dove hanno ampiamente avuto modo di segnalarsi su coordinate artistiche riscontrabili ben più che in semplice filigrana nei solchi di questo Beholden, che segna l’inizio della nuova avventura. L’orizzonte sonoro della band spazia infatti in una pluralità di generi e sensibilità che vanno dalle astrazioni ambient e post-rock agli strappi black, il tutto riunito sotto il nume tutelare del doom che, senza per questo farsi prendere la mano da una troppo rigida ansia classificatoria, si segnala come tratto maggiormente distintivo della proposta. Ecco allora sullo sfondo innanzitutto il moniker Lotus Thief, che forse i devoti della cultura classica proiettata sul pentagramma ricorderanno alle prese con i testi di Lucrezio ed Eschilo rispettivamente in Rervm e Oresteia, ma, con riflessi ed esiti non meno significativi, ecco anche l’ombra lunga di quei Forlesen che, con la doppietta Hierophant Violent/Black Terrain, hanno raggiunto vette importanti nell’ammantare le trame musicali di un senso di magia e mistero. Il trait d’union tra tutte queste esperienze è innanzitutto la vocalist Beth “Bezaelith” Gladding, in grado di presidiare con pari maestria sia il versante più etereo del cantato, sia le escursioni in territori maggiormente segnati da cadenzate pesantezze doom, senza dimenticare passaggi da interprete “pura” che distilla a tratti nei solchi. Alla guida del nuovo vascello, peraltro, lady Gladding si concentra soprattutto sui riverberi più esoterici e magneticamente caldi del suo timbro vocale, riecheggiando significativamente in diverse occasioni una delle somme autorità in materia, sua maestà Rebecca Vernon. A fare da controcanto spigoloso e appuntito provvedono le incursioni di stampo black di Brian Harrigan, con il suo scream sempre accuratissimamente appostato sui tornanti cruciali dei brani ad aggiungere tocchi a volte inquieti e a volte spettrali, sempre e comunque impeccabili per incrementare il tasso caleidoscopico dell’insieme. Se le prove al microfono delle due ugole sono già una freccia significativa nell’arco del platter, il quadro generale si arricchisce ulteriormente grazie alla scelta di puntare su un doom essenziale e mai ridondante che strizza volentieri l’occhio a suggestioni settantiane (eccellente il contributo della sezione ritmica DiBlasi/Vogt, spesso protagonista di riuscite scelte sabbathiane senza mai cadere nella trappola del citazionismo di maniera), ma il vertice assoluto va cercato innanzitutto nella straordinaria capacità del quartetto di creare atmosfere dilatate, sospese e iniettate di vapori psichedelici, sintomo anche in questo caso di un rapporto fecondo coi grandi classici. Per l’applauso a scena aperta manca solo la chiamata all’appello del lavoro delle sei corde, ma anche in questo caso gli Inherus vanno oltre le più rosee aspettative, attrezzando un clamoroso arsenale di riff che pescano a piene mani nella tradizione hard rock e classic metal e dimostrando come sia ancora possibile mantenere un approccio melodico e garantire una potabilità dell’insieme (relativamente) elevata senza imbarcare necessariamente stucchevoli scorie easy listening da cassetta. L’unico ostacolo sul fronte della fruibilità dell’album potrebbe ipoteticamente materializzarsi in presenza di una tracklist oggettivamente impegnativa in termini di minutaggio dei singoli episodi, tutti a cavallo o oltre la soglia dei dieci minuti con l’eccezione della breve “Obliterated in the Face of Gods”, ma la band tiene saldissimamente nelle mani le redini delle trame dei pezzi, riuscendo sempre a modulare il carico emozionale e a ricorrere a soluzioni inattese che mantengono altissima la soglia di attenzione. Bastano così pochissime note all’opener “Forgotten Kingdom” per scaraventarci ex abrupto in un mondo oscuro e obliquo dominato da un senso di claustrofobica oppressione (è qui, in questo retrogusto, più che in una convergenza stilistica tout court, che si manifestano gli echi Amenra e Cult of Luna annunciati nel booklet), ma la seconda metà della traccia offre subito una via d’uscita, con la voce della Gladding a tracciare possibili percorsi iniziatici e un primo, magnifico riff a trascinarci lontano in modalità pifferaio di Hamelin. All’opposto, non deve ingannare l’avvio apparentemente poetico e quasi addomesticato della successiva “One More Fire”, perché i giri del motore si alzano molto presto regalando un saggio di doom che trasuda classicità, per l’occasione declinata prevalentemente secondo gli stilemi Avatarium. Siamo già a questo punto su vette qualitativamente di tutto rispetto, ma i Nostri riescono a spingersi ancora oltre con “The Dagger”, incredibile miscela di sabbia terrena e polvere di stelle che si incontrano potenziando un effetto psichedelico capace di insidiare la dittatura delle coordinate spazio/temporali in cui siamo immersi. Il ritorno alla realtà è affidato alle spire lente e avvolgenti di “Oh Brother”, ma anche in questo caso si tratta di una tregua di breve durata, travolta presto da assoli trascinanti e da tambureggianti assalti in cui si esalta il lavoro alle pelli di Andrew Vogt. Non c’è un solo attimo di respiro, invece, nella conclusiva “Lie to the Angels”, che si avvia su frequenze di chiara marca Tool, staziona a lungo su un altopiano che carica l’atmosfera di oscuri presagi e fa calare il sipario in un tripudio di distorsioni black punteggiate da nervose scariche di synth.

Potente, oscuro e visionario ma contemporaneamente ricchissimo di anfratti in cui la cura dei dettagli non è mai accademico sfoggio di bravura, dotato di radici che affondano saldamente nel fertile humus della tradizione ma allo stesso tempo coraggioso nella ricerca di nuove combinazioni sonore, Beholden è un esordio sontuoso che mette basi importanti per la carriera di una band che ha tutte le carte in regola per stupire ancora. Benvenuti, Inherus, il primo passo è da standing ovation.

Rating: 8.5/10

Reviewed by: Gabriele Zolfo

Review from Stalker Magazine

Tue, 13 Jun 2023 10:18:08 +0100

From: Stalker Magazine

Published: June 9, 2023

Original Link

Inherus stammt aus Hudson Valley, New York, und wurde im Sommer 2018 von Brian Harrigan und Anthony DiBlasi gegründet. Andrew Vogt stieß kurz darauf dazu und Beth Gladding vervollständigte später nach einer Audition das Line-up. Das Quartett lässt sich von einem breiten Spektrum an musikalischen und kreativen Einflüssen inspirieren und vermischt verschiedene Elemente kreativ miteinander um neue Klänge zu schmieden.

Das 60-min Album Beholden enthält 6 Tracks, das die Genres Post-Metal, Heavy Rock bis Black Metal sowie Psyche-Rock-beeinflusste Soli vermengt. Die düsteren Riffs dienen als Grundlage für die männlichen und weiblichen Clean- und Growl-Vocals. Daher ist es schwierig, dieses Album auf ein einziges Genre zu beschränken.

Beispielsweise verbindet schon der erste Track Forgotten Kingdom saumässigen Groove mit derbem Melo-Death und psychedelischen Elementen. Headbanger haben hier die helle Freude (und hinterher wohl Genickschmerzen).

Stellenweise dauert mir nur das Psychedelische etwas zu lange, ehe es schön brutal auf den Punkt kommt und so ein brutalerer Track wie Oh Brother ist schon eher mein Fall. Aber insgesamt ist Beholden ein ausgesprochen gelungenes Album geworden, wo die Songs nicht nach Schema F funktionieren, eingängig und abwechslungsreich gestaltet sind. Überdies bietet Lie to the Angels einen tollen dramatischen Abschluss des Albums, sowas wie eine Metal-Mini-Oper.

Rating: 8.5/10

Reviewed by: Klaudia Weber

Review from Zwaremetalen

Tue, 13 Jun 2023 10:17:01 +0100

From: ZWaremetalen

Published: June 9, 2023

Original Link

Wat je vaak ziet als een genre overbevolkt raakt, is dat bands gaan zoeken naar elementen van andere genres om deze te integreren in het geluid. In dat opzicht is het niet gek dat je steeds meer bands ziet die post metal met andere genres combineren. Inherus is bijvoorbeeld zo’n band. Het gezelschap maakt een mengeling van doom en post metal. Dat is op zich niet zo vernieuwend en vaker gedaan, maar de band geeft daar ook een zweem van psychedelische muziek en black metal mee. Dus dan kom je ongeveer uit bij Paradise Lost die post metal speelt.

Dit alles resulteert in hun eerste volledige plaat, Beholden getiteld. En de muziek is net zo veelzijdig als je zou verwachten met al die stijlelementen. Niet alleen vanwege alle invloeden, maar de band beschikt ook over meerdere zangers. Zo brult zanger Brian flink van zich af, maar krijgt hij tegengewicht van de mooie zang van Beth, die bij vlagen klinkt als een zwaardere versie van Cristina Scabbia. De stemmen passen wonderwel op elkaar en wisselen elkaar op de juiste momenten af.

Er staan zes nummers op de plaat die allemaal flink wat informatie bevatten. Er zijn meerdere luisterbeurten nodig om deze plaat te doorgronden, de nummers zijn (afgezien van het tussendoortje Obliterated In The Face of Gods) ook erg lang. Zo klokt het derde nummer The Dagger af op bijna veertien minuten. Om nu te zeggen dat de band ook al deze tijd nodig heeft om het nummer over te brengen… Nou nee. Hier had gerust een paar minuten vanaf gekund. De terugkerende thema’s in dit nummer worden net wat te vaak herhaald. Het is overigens wel een goed instapmoment voor het luisteren naar deze band, want alles komt terug in dit nummer. De combinatie van woeste en bezwerende vocalen, post-metal riffs, herkenbare refreinen, maar ook de opdoemende gitaarsolo’s die regelmatig de melodie overneemt van de zang. Dat gebeurt vaker op de plaat, zoals op Oh Brother. Hier zoekt de band ook nadrukkelijk aansluiting bij de retro rock. Op een goede manier, dat wel, want hoe de gitaarsolo eindigt met intens gebrul en vervolgens overgaat op een hele vette groove is ingenieus bedacht.

Die grooves komen vaker voor op de plaat en zorgen ervoor dat de band niet continu topzwaar klinkt. Want de hele sfeer van dit album is toch vrij donker, wat ook komt door de zang van Beth die weliswaar goed is, maar na een uur muziek er ook voor zorgt dat je niet bepaald de confettislingers in het rond gaat strooien.

Productioneel is het album top, ik heb echt geen aanmerkingen. De muziek klinkt zoals deze muziek moet klinken; bruut en beklemmend, maar ook ontzettend gedetailleerd. Zo zijn de instrumenten bijzonder goed te onderscheiden van elkaar en zijn ze qua geluid goed op elkaar afgestemd en dat is best knap omdat Inherus nogal wat invloeden en instrumenten meebrengt zoals mandoline en synthesizer. Ook de drums zijn perfect in de muziek gemixt en klinken, zoals wel vaker gebeurt bij dit soort muziek, vol. Alles staat eigenlijk in dienst van de nummers en dat hoor je.

Met deze plaat zou Inherus in principe een breed publiek moeten kunnen aanspreken. Ik denk namelijk dat fans van uiteenlopende bands als Paradise Lost, Isis en zelfs Satyricon dit wel kunnen waarderen, maar ook fans van Ghost die hun muziek het liefst wat zwaarder en meer experimenteel en harder hebben zouden dit eens moeten luisteren.

Rating: 71/100

Reviewed by: Friso Veltkamp

Review from Machine Music

Wed, 07 Jun 2023 15:57:54 +0100

From: Machine Music

Published: June 3, 2023

Original Link

If all these bodies, metaphorical or otherwise, piling up in the dank basement of this post then rest assured – angelic, etherial doom is here to save your souls. The music here is obviously wonderful, transitioning from doom to post-metal atmospheres and sometimes prog. So, grade-A shit. But I'm here for Bezaelith's voice, sorry. That's just the way it goes. Like a ray of moonlight in vocal form. What a gift. FFO: Forlesen, Empress, SubRosa.

Review from Musipedia of Metal

Tue, 06 Jun 2023 08:16:39 +0100

From: Musipedia of Metal

Published: June 2, 2023

Original Link

Having a look online at where Inherus sit musically their members have come from various bands such as Witchkiss, Botanist, Swallow The Ocean and Lotus Thief to name but four. It’s labelled as a mix of post-metal and heavy rock that takes in black metal, doom, psyche on its musical journey.

So, when it starts with a roar and a warm guitar sound that bows at the alter of the Lord Tony Iommi it’s not what I expected at all. Forgotten Kingdom is all about the riff and blackened vocals with a suitable melodic backing that is given additional weight by Beth Gladding that provides that dynamic between clean and harsh. It continually changes its approach from track to track, One More Fire concentrates on Beth’s strong vocals in its opening stages against an almost minimal backing as she tells her story in an unhurried fashion. The harsh vocals come in with a backing that matches as we switch back and forth as the two styles come together. It put together so well; everything is in synch with each other which is key here.

The Dagger continues in the same manner, with those ethereal vocals really shining here, throwing in tasteful solos as it continues on its long path. They achieve so much with the combination of these clean vocals and a simple guitar riff which builds emotion and feeling. Oh Brother adopts the same approach and again uses the top-class clean vocals as a base to build and expand the song into that otherworldly realm, this time facing attack from the death growl vocals. Final song, Lie To The Angels starts as Forgotten Kingdom did, emphasis on a more up-tempo heavy approach but with a strong vocal delivery on both sides of the coin. They lean into the darker side here without forgetting the great work they have done leading up to this.

This is going to appeal to fans of expressive longer jams with the majority of songs running at nine minutes plus. It lives up to its description of a mix of psyche/doom which will definitely resonate with those who love those genres. The album is chock full of memorable riffs and musical intent. Its handled so well that it has clearly been a labour of love for those involved. If anything, the song lengths are too much for me but that is a minor criticism and results from an ingestion of thrash metal from an early age. As I’ve said fans will love it, and those involved should feel rightfully proud of their achievement with this.

Rating: 8/10

Reviewed by: Mark Young