orphansofdusk-spleen-reviews

Review from Blasted by Britton

Fri, 31 Jan 2025 19:32:09 +0100

From: Blasted by Britton

Published: January 2, 2025

With members from New Zealand and Australia, “Spleen”, the first full-length from Orphans At Dusk, makes its way to me here in Michigan, U.S.A. via Hypnotic Dirge Records from Portugal. This is one well-traveled CD! Lol. Grab your goth clothes, your Lost Boys DVD and maybe a glass of wine and partake in this review!

“Spleen” is a very very atmospheric Goth/Doom/Black Metal album. For starters, the keyboards are some of the best I’ve heard in a while. Piano sounds, funeral organs, spacey and mesmerizing soundscapes meander through the various Metal genres on the album and it all together sounds darkly beautiful. The album reminds me a lot of Type O Negative, but with some Black Metal nuances. The musicianship is amazing and the songwriting phenomenal. This is fucking awesome music, my friends!

The vocals are very influenced by the late, great Peter Steele, but the vocalist also uses a great Blackened vocal style which sets him apart from Peter. The lyrics are dark and bleak with a subtle bit of humor. Tales of romance, death, ghosts, vampires and more are found here, and all the lyrics are interesting.

The production is great and no one thing overpowers the others. Keyboards can be hard to get right on an album, but they are perfect here.

The cover art was done by Moreno Matkovic and looks to be a photo (maybe a painting?) of a castle at nighttime that has an eerie green light shining around it. Creepy! The booklet pages are done in one of the coolest color schemes I’ve ever seen. All of the pages are a sort of toxic green and the artwork and lyrics are black. It’s pleasing to look at and it’s easy for me to read the lyrics. Other bands and labels should take note of this as it sucks when you get an interesting album, and you can’t read the lyrics.

“Spleen” is a very accomplished album full of unique ideas. Upon doing research for this album, I found out this is the first thing they put out after releasing an EP way back in 2014. I hope we don’t have to wait that long for another album as this rules hard.

Rating: 9.5/10

Review from Mournful Sounds

Sun, 28 May 2023 17:03:09 +0100

From: Mournful Sounds

Published: May 25, 2023

Original Link

After several years of silence (the ep Revenant dates back to 2014) return Orphans of Dusk, band featuring Australian singer Chris G. who the most attentive will remember above all for his work with Mesmur; on this occasion, the sound on offer is decidedly more open than that of one of the leading funeral doom bands of this millennium, and from this follows the possibility of using different vocal ranges within a very balanced musical fabric, oscillating wisely and without excessive repercussions between solutions close to traditional gothic doom as well as the opposite, landing in territory not far from Type 0 Negative if not to the darker Sentenced, without forgetting a vague hint of Fear Factory in some parts with clean vocals. As a result, Spleen is a very varied work, with a good melodic impact and equally fluid and full of episodes with a good emotional impact; Chris G. confirms himself as an magnificent performer, in a trio in which the compositional and lyrical work is shared with guitarist and keyboardist James Quested, with the bass contribution of Mike Wilson, Mike Lamb’s partner in the excellent New Zealand band Lysythea. Considering that this is a work that is close to an hour in length, the Orphans of Dusk‘s intention to offer a series of tracks that are flowing but not ephemeral in consistency is positively surprising; precisely because it moves in an area that can legitimately be defined as gothic doom, the success of the operation of the Australian band emerges in the ability to escape the stereotypes as well as the frequent plasticization that afflicts this sub-genre in recent times, and the two opening tracks (net of the intro) Wasted Hero and I’m Going to Haunt You (When I Die) are the ideal viaticum for a very rewarding listening experience.

Review from The Headbanging Moose

Wed, 10 May 2023 16:57:32 +0100

From: The Headbanging Moose

Published: May 3, 2023

Original Link

Ten years after the band’s inception, and nine since their last offering, the 2014 EP Revenant, New Zealander/Australian Gothic/Doom Metal entity Orphans of Dusk opens their goth-doom gasket again, coming back to life to present Spleen, their haunting new full-length album. Mixed and mastered by Simon Cohen at Studios 301, and displaying a classy artwork by Moreno Matkovic (with additional artwork by Luciferium War Graphics, Irina Micic and the band’s own guitarist James Quested), the album picks up where Revenant left with a greater focus on dark hooks carried by excellent gothic vocals and guitar harmonies brought forth by Chris G on vocals, the aforementioned James Quested on the guitars and synths, and Mike Wilson on bass, supported by guest drummer Jonas Schütz (Cyclopean Walls, Sacrosanct, Diësis). The band’s most mature offering to date, and one that should gather the world’s gothic-doom scene’s attention, Spleen is highly recommended for fans of Type O Negative, Woods of Ypres and My Dying Bride, among others, offering the listener eight memorable songs with powerful riffs, weaving heaviness and beauty into a lush gothic atmosphere.

The vibrant and dense intro Welcome Black sets the tone for the rest of the album, darkening the skies and bringing sheer doom to our hearts before the band smashes our senses in Wasted Hero, with the sluggish, massive drums by Jonas dictating the song’s thunderous pace. Moreover, Chris’ deep vocals, most probably inspired by the unparalelled Peter Steele (RIP), match perfectly with the lugubrious riffs by James. In the somber I’m Going To Haunt You (When I Die) we’re treated to caustic lyrics growled by Chris (“Shadows grow over your own / A bitter chill descends, are you sure you are alone? / Such rage, it can defy the grave”) while Mike enhances the song’s density and darkness with his puissant bass lines; and it’s then time for a nine-minute aria exhaling melancholy and obscurity titled Aurora Australis, where the synths by James help the band generate an enfolding atmosphere. Needless to say, Chris is once again spot-on with both his enraged guttural and somber, clean vocals, sounding hypnotizing from start to finish.

The title-track Spleen keeps the atmosphere dense and muggy, blending the absolute heaviness of Doom Metal with the groovy feeling of Gothic Metal and Rock. It definitely feels like their personal “tribute” to Type O Negative, I might say, whereas Victim of a Vampire is even more touching and melancholic than its predecessors, a beautiful creation by Orphans of Dusk spearheaded by the minimalist but sharp guitars by James and the low-tuned bass by Mike. The instrumental interlude Magic Keys will then drag your soul to one final ride with Orphans of Dusk titled Falling Star, once again showcasing poetic words (“All alone but together we’re here at last / A violent zone, looking up to long black clouds / You wish upon a star”) embraced by a slow, heavy-as-hell goth-doom sonority. As a matter of fact, the CD version of the album comes with an exclusive bonus named A Spell of Bad Luck, definitely worth the investment in the physical copy, offering a nice hybrid of Gothic and Doom Metal where Chris’ deep vocals are nicely complemented by James’ keys and Jonas’ pounding drums.

Chris, James and Mike are eager to know what you think about their album, and you can easily get in touch with them via Facebook or Instagram and know more about the band, their plans for the future, tour dates and so on. Also, don’t forget to subscribe to their YouTube channel and to stream more of their music on Spotify, and above all that, to grab a copy of the excellent Spleen from their own BandCamp page, or from the Hypnotic Dirge Records’ BandCamp page or webstore (or click HERE for all things Orphans of Dusk). Gloomy, inspiring and extremely detailed, Spleen is a fantastic return to action by Orphans of Dusk, and may that represent just the first step as they restart their journey through the dark and grim lands of Gothic and Doom Metal.

Rating: 3.5/5

Reviewed by: Gustavo Scuderi

Review from Counter Sound

Wed, 03 May 2023 14:39:10 +0100

From: Counter Sound

Published: May 3, 2023

Original Link

Nearly a decade after their debut EP, Orphans of Dusk’s highly anticipated full-length album “Spleen” captivates listeners with its mesmerizing blend of gothic and doom metal. The album kicks off with an intriguing intro that sets the stage for the powerful combination of gothic metal vocals and doom metal instrumentals in “Wasted Hero.” The vocalist truly shines when breaking free from conventional phrasing and embracing more melodic and passionate tones. With tracks reaching up to 8 or 9 minutes in length, the album offers a comprehensive listening experience. The instrumentation manages to create a beautiful soundscape while maintaining a haunting atmosphere that encapsulates the themes of death and romance. “Spleen” is an immersive journey that showcases Orphans of Dusk’s unique take on the gothic and doom metal genres.

Reviewed by: Joel Costa

Review from Musipedia of Metal

Wed, 03 May 2023 14:36:25 +0100

From: Musipedia of Metal

Published: May 2, 2023

Original Link

Orphans Of Dusk bring the gloom on their new album, the interestingly titled Spleen. You get all sorts of gothic doom on Spleen, with some elements of death/doom, and is an album where the band wears their influences firmly on their sleeves to the point that we may want to replace the word “influence” with “worship”. This is not always a bad thing. How many times have I written “Sabbath Worship” in a review? A lot. But let’s see if the band can forge their own path instead of re-creating from the masters.

Type O Negative comes right to mind when you hear the real opening track after the instrumental interlude. You can hear it in the voice for sure, leaning towards the heavier and doomier Type O material. But to me, this band is Woods Of Ypres more than anything else. Wasted Hero sounds like it could have been in Woods IV without skipping a beat. The Woods comparison holds up more, mostly because of the death/doom aspects of Spleen. With Type O you get more sense of humor, whereas Woods was always more serious to me, which is why I would lean more in that direction. But you get really cool atmosphere on the track. I love the subtle keys in I’m Going To Haunt You (When I Die), which opens with some death growls, but morphs into a catchy chorus which you have no choice to harken back to David Gold’s vocal and lyrical work with Woods.

Aurora Australis is a real slow death/doom burner, with alternating screams and clean baritone vocals and is a song that is gloom personified, with more of those keys sprinkled into the funeral procession. The track does pick up a bit throughout the eight-minute dirge but always brings you back way, way down. The minimalist middle parts of a couple of the songs is right out of the Type O playbook, along with the guitar slide to bring us back to the heavy. The title track is killer goth/doom and would be the song I would play to get folks interested in the record, with a section that is so Type O you may think you are hearing a lost track. The closer, Falling Star, is my favorite track on Spleen, opening with some rather cheery synths (for this band) and sounds the least like a B-side from the bands mentioned above.

If I had some feedback to give, it would be some of the tracks drag a bit and occasionally the record feels longer than the fifty-minute run time, but even the best Type O records can feel long. The difference is those albums actually are. I would also love to see the bad venture away from the worship and forge some of their own path while leveraging their love of those great bands, like they did on Falling Star.

This album is not for the faint of heart or for anyone looking for a pick me up. Spleen is as gloomy as it gets. If you like the bands I mentioned and can hang with some of the death growls, this is some solid goth/doom. I you had a Peter Steele poster on your wall or still long for the snowy Canadian death/doom of Woods Of Ypres this one may be of interest to you. Spleen is well executed with zero excuses given by Orphans Of Dusk for sounding like their musical heroes. 7/10

Rating: 7/10

Reviewed by: Rich Piva

Review from Abysmal Hymns

Mon, 01 May 2023 19:12:42 +0100

From: Abysmal Hymns

Published: April 30, 2023

Original Link

This doom trio that features the singer from Mesmur, seems to draw a great deal of Type O Negative comparisons. But how accurate is that ? Since Type O Negative is one of my favorite bands, I am pretty qualified to weigh on this. Then there is the fact I am weighing in on this kind of thing across a multitude of music planforms any ways. They are doom band with low sung baritone vocals , but also use death metal snarls as well, which not what Peter Steele did, so yes there is influence there, but Woods of Ypres, Moonspell, Paradise Lost and My Dying Bride could all be influences as well. If you just label them a Type O tribute then you are telling me you have a very limited range of musical knowledge. Not that they are the most original band either, but I found "Wasted Hero" enjoyable.

By the second song I am listening for where the identity of this band is buried beneath their influences. The impact of their oppressive gloom holds more impact when you first hear. "I am Going to Haunt You" does have a hooky chorus, so it's not surprise they released a video for this song. The verses do not groove in the way that made Type O so infectious, so they are more like My Dying Bride in this regard. They do the pick scrapes to further the illusion they are giving you bloody kisses, but then lurch in growled doom that languishes in the misery. The singer's croon reminds me more of Burton C Bell. The trade of of the vocals with the croon, further spotlights this fact for me. It's odd that this is coming out of Australia / New Zealand , Finland or England would make more sense to me. They do slowly lean more into the more funeral side of doom as the more sprawling compositions unfold.

The title track finds them sitting solidly in sound of most of the metal bands I listened to in the 90s. Bands like Tiamat and Samael got darker and more melodic. There was a similar pained croak that narrated the more romantic tales of sanguine addictions. The most Type O like moment is how they ebb and flow from the transitions on the title track . I appreciate the darker direction they go down with "Victim of a Vampire", It might take me some time to warm up to some of the tempo shifts in this one, but it could happen. "Magic Keys" is just and interlude to throw a guitar solo onto. For the purpose of this review I am not counting it as a song.

"Falling Star" plods along in with enough charm as it splashes synths onto it's shoulders. Not sure lyrically what they are getting at and when I think I am about to untangle this , they shift into a heavier dynamic;. The snarled vocals have more of a Cathedral cadence. I will give this album a 9, as it's not the most original thing , but I like where they go with and the toys they are choosing to play with are some of my favorite toys in the toy box. If you are a fan of gothy doom do yourself a favor and check this out. This dropped on Hypnotic Dirge Records.

Reviewed by: Wilcifer

Review from Zwaremetalen

Mon, 01 May 2023 19:11:23 +0100

From: Zwaremetalen

Published: April 30, 2023

Original Link

Wederom treffen we een internationaal collectief. Met reeds één EP op zak is het nu tijd voor een debuutalbum. Dit Orphans Of Dusk speelt gothic/doommetal met thema’s als gothic, dood, romantiek en magie. De vocalist treffen we ook aan in de funeraldoommetalband Mesmur. De andere heren zijn mij (nog) onbekend.

Onbekend blijkt in dit geval niet onbemind want deze heren kunnen er wat van. De groenkleurige hoes verraadt al ten dele wat we mogen verwachten. Zonder de promo te lezen, is dit duidelijk een hint naar het eens zo machtige Type O Negative. De band met het stoere imago, waar zanger Peter Steele een groot aandeel in had door zijn bijzonder lage en doordringende stemgeluid. Natuurlijk kennen we in dit genre meerdere grootheden, zoals bijvoorbeeld ook het Canadese Woods Of Ypres. Voor de eerste luisterbeurt ben ik dan ook maar wat benieuwd welke kant dit precies op gaat.

Nou, inmiddels kunnen we de vlag hijsen hoor! Een groene vlag welteverstaan. Tijdens de intro Welcome Black, wat evengoed “Welcome Green” genoemd had kunnen worden, is het al volstrekt duidelijk dat we hier een grote lading op Type O Negative-geïnspireerde muziek mogen verwachten. En dan nog valt mij de bek wagenwijd open wanneer de eerste sombere zanglijnen tijdens Wasted Hero worden ingezet. Is dit daadwerkelijk dezelfde vocalist als die van Mesmur? In eerste instantie horen we een zang die akelig dicht in de buurt komt van Peter Steele. Echter, naarmate het album volgt, blijkt er nog veel ruimte over voor andere zang- en gruntstijlen. Ik zou gemakkelijk kunnen geloven dat hier meerdere zangers aan hebben bijgedragen, en toch is het enkel Chris G die hier zijn stemgeluid laat horen. Deze man moet wel haast een kameleon zijn, want dit lijkt mij op een normale manier niet te doen.

Muzikaal gezien is het sferisch, beneveld en met een dikke knipoog naar niet alleen Type O Negative. Er komen zeker ook andere invloeden naar voor. Zo zijn even goed de tragische invloeden van een band als My Dying Bride te ontwaren. De nummers zijn afzonderlijk prima aan te horen en heel goed uitgedacht. Het detail zit met name in de tempowisselingen en vooral in het gebruik van de keyboards. Het totaalplaatje zorgt wel degelijk voor een eigen geluid waarbij het anderzijds meteen opvalt dat dit een ode is aan de reeds genoemde bands. Uiterst smaakvol uitgevoerd! Maar er is nog veel meer te beleven, zo roept de beginfase van Falling Star veel gelijkenissen op met Paradise Lost, zowel qua zuivere zang als grunts.

De nummers Wasted Hero, I’m Going To Haunt You (When I Die), Spleen en Victim Of A Vampire zijn zeer aanbevelenswaardig. Maar eigenlijk gaat het ook tijdens de andere nummers nergens mis. Het is dat de genoemde nummers net even wat meer onderscheidend zijn dan de rest van dit debuutalbum. En als Type O Negative fan doe je jezelf tekort wanneer je dit album links laat liggen. Als gothic/doomfanaat trouwens ook!

Rating: 85/100

Reviewed by: Joost Aarts

Review from The Metal Observer

Fri, 28 Apr 2023 12:22:36 +0100

From: The Metal Observer
Date: April 28, 2023
Original Link

Here to remind us of a few nice concepts like the Aurora Australis (Southern lights) and the word “spleen”, Orphans Of Dusk may also be reminding us of their own existence, since nearly 9 years have whiled away after their debut EP Revenant waited patiently for a follow-up. That’s a long time in anyone’s book, but when your most important influences come from the early ‘90s and beyond, it may not matter so much to these guys. Definitely the most potent shadow hanging over Spleen is Type O Negative, and it begs the question of just how many bands actually sound like the gothic metal idols. I can’t count a great deal. Orphans Of Dusk avoid the Americans’ hardcore period, but keep the droning group vocals at times, as well as maintaining the sonic punch of dual keyboard and guitar from October Rust at key points of this 9 song release, not to mention a very convincing use of deep croaking vocals from Chris G in addition to some harsh growls. That mix just about hangs the trio out over death doom territory, but those of you regularly purchasing black no.1 dye can rest assured that no death metal pacing oppresses the gradual Spleen.

I don’t want to single this out as worship of one specific band however, because Orphans Of Dusk bring along enough of their own tools while adopting the Type O tropes. Baritone vocals have always had a place in gothic music since way back in the early ‘80s, so pairing them with clean guitars at moments like the slow burn commencement of “Victim of a Vampire” really brings us round to the roots of the style, even if a heavy drum presence and generally powerful production juxtapose that with a very modern feel. Indeed, at other moments over the course of 55 minutes, I feel instead that Spleen represents a lush and open version of the terse acts from which they draw influence, swelling up into broad crescendos and unusual diversions, as heard on bonus cut “A Spell of Bad Luck” and its effect-charmed solo. It’s also clear that this trio revere the density of mournful doom acts like Swallow The Sun and Saturnus, crushing down heavily with the slow revelatory rhythm of “Wasted Hero” and allowing Jonas Schütz on guest drums to lay down some pretty destructive beats at the same time.

However, Spleen vents most of its aggression through the surprise conflicts of the drumming and vocals, relegating guitar to a melodic or rhythmic role for the best part of an hour. The toughened opening of the album relents somewhat as the long pair of “Aurora Australis” and “Spleen” get underway, taking in atmospheric keys in the former and some upbeat rhythms in the latter. The keys offer the most detailed features to Orphan Of Dusk’s songs, sometimes joining the vocals to give the impression of a horde of singers, sometimes highlighting different areas of the mix to present a haunting emptiness. At the tougher moments of “Aurora Australis”, that coalesces to remind me of Paradise Lost in the 2010s, especially as the rallying guitar melody of the chorus touches on Gregor Mackintosh’s style. On the other hand, the title track occasionally hits gothic rock territory, opening up the sonic realm from a relatively claustrophobic one to a more spacious feel as yawning vocals, dazzling organ, and a sense of emotional release combine to uplifting effect.

Inclination towards such a moody album may vary from listener to listener, with some metal fans missing pronounced riffs or energetic sections, while others will be drawn into the passionate delivery and slow-build techniques. I can personally tune into this to an extent, but I’m also mindful that Orphans Of Dusk offer little in the way of instrumental shifts to mark out particular passages, perhaps dwelling too strongly on dirge-like atmosphere during the longest tracks of 8 or 9 minutes. Interestingly, I find myself more involved during the sparser sections – either in mid-song hushes or the guitar solo interlude “Magic Keys” – which makes me wonder if Spleen might have been better off reducing the bulk at times, since the wall of sound moments become an obvious go-to by halfway through the album. That’s not a serious detriment when only 6 or 7 full songs fill up the bulk of the listen, but it does leave little time for nudging the listener out of their reverie, as “Falling Star” achieves quite savagely in its mammoth verses and floating bridge. Spleen can be called a very solid effort in most respects, but I anticipate it making some listeners much happier than others.

Rating: 7.5/10
Reviewed by: Edmund Morton

Review from Jenny Tate

Fri, 28 Apr 2023 12:20:07 +0100

From: Jenny Tate
Date: April 27, 2023
Original Link

The first Hypnotic Dirge Records release of the year, ‘Spleen’ comes to you from New Zealand/Aussie’s gothic death doomsters, Orphans Of Dusk.

Founded 2013, OOD’s last release was the 4 track ‘Revenant’, also launched on HDR.

Comparisons have been drawn to the likes of Type O Negative and Woods Of Ypres.

‘Spleen’ is an intensification of past material, with a lighter, yet meatier melodic touch. Designed to home in on the goth/doom themes, ‘Spleen’ heavily showcases the band’s evolution.

Officially launched on 28th April 2023, ‘Spleen’ is available on digipack, digital and combo packs and merch can also be bought from HDR’s Bandcamp page.

The trio consists of: Chris G (vocals), James Quested (guitars/synth) and Mike Wilson (bass). Don Salamon features on title track 5, ‘Spleen’. Drums – Jonas Schutz. Produced by Simon Cohen, at Studios 301. Cover art by Moreno Matkovic, with additional illustrations by Luciferium War Graphics, Irina Micic and James Quested.

Welcome Black – Instant doom hit. Fusing blackened doom with choral vocals and gothic melodies. Darkly haunting. A lone voice accompanies keys and synths, till the end.

Wasted Hero – Similarly doom centric, but even heavier, with more synth. Deep, guttural vocals. Actually quite creatively vibrant, considering the genre. Slight Sabbath echoes. Very visually evocative, for the sound. Lots of spacey, sci-fi sounds, verging on fantasy games, such as Dungeons & Dragons, in places. The haunting gothic organ combines well with the darkness and the synths. Slowed, doom vocals, with light stoner touches. Good narrative structure. An enlightening presentation and delivery. Light and dark intertwine.

I’m Going To Haunt You (When I Die) – Grinding death vocals intro, with a touch of melody within them. More classic doom refrains. Still, light penetrates, through the darkness. Switching, fluidly and comfortably, from heavy, deep intensity, to lighter melodies. Surprising and intriguing, in equal measure. Opening up another world of light relief and wonder, towards the bridge. Following with a searing riff and well spaced drum hits. Lyrics clearer, in places. More thunderous drumming and evil laughter meld together. Sailing, seamlessly, to the end, where bass and lead guitar fuse.

Aurora Australis – Dark synth waves open, revealing echoic, cave-like depths. Vocal blackness meets melody. Shades of death and light. Grinding edge and lighter glimpses balance each other out, punctuated by slow drum beats. Deepening bass loosens the tones. Moving into a continued looseness. Quite Immortal Empire-esque. Interestingly versatile. Constantly alternating rhythms and melodies. Eventually, emerging, into the light, at the end.

Spleen – A spacey intro. Darkest depths again, combine with light shafts. Quite an expansive sound. Cymbal hits form the following section, into the bridge, where the light grows stronger. Strange, yet curious combo of stoner, circa Crash Test Dummies, Yes and Pink Floyd-esque melodic reflections. Always presenting a new angle. A gothic finale.

Victim Of A Vampire – Carefully conveyed steel strings open, leaving room for imagination. Cymbals emerge, with vocals, via lyrical accessibility. Lots of enjoyable riff sheen. Flexible tones bend, this way and that, featuring a well-placed electrifying riff. Continuing, in a steady rhythmic light and dark combo, finished with a neatly positioned slide riff.

Magic Keys – A big, gothic opening, with impressively dazzling riffage. A mediaeval edge, with a modern execution. Neat string bending, as gothic sounds surround. Darkly choral backing vocals, topped off by funeral bells and a strongly sinister atmosphere. A brief, but very evocative interlude.

Falling Star – Electronic synth intro, straight into an unexpectedly light refrain. An effective dark and light fusion, again, featuring a few more diverse rhythmic patterns. Blood-curdling death vocals, towards the bridge. Slowing it down, alternating the tones, reflecting light, inside the darker aspects. Ending on a creepy vocal.

A Spell Of Bad Luck (B-Side) – A colourful blizzard of gothic melodies intro’s. Hope within volatility. A rainbow of reflective riffage sings, throughout. Always a sense of light emerging from darkness. Low vocals, showcasing depths, again, before uplifting, fiery riffage overtakes, till the end.

Overall – ‘Spleen’s a revelation, on many levels, but mainly and especially, in its wide-ranging versatility and its balanced capture of light and dark. The hopeful continuum and consistent diversity are clear USP’s, highlighting it’s creativity and originality. A long, but very intriguing and worthwhile aural journey.

Rating: 9/10

Review from Metal Temple

Wed, 22 Mar 2023 18:52:26 +0100

From: Metal Temple
Published: March 22, 2023
Original Link

From Bandcamp, “ORPHANS OF DUSK opens their goth-doom gasket again, coming back to life to present “Spleen,” their haunting new album. “Spleen” picks up where “Revenant” left, immediately displaying a well-produced record and melodies that will immediately find its place in many gothic and doom music libraries. On “Spleen,” the band however chooses to focus less on the previous atmospheric death-doom elements, and more on the gothic vocals and guitar harmonies. As a result, “Spleen” hits like a stake through the heart – it is the band’s most mature offering to date, and one that should gather the world’s gothic-doom scene’s attention.” The album has eight songs.

“Welcome Back” is the first…a short intro of heavy bass, guitars, and drums, with some light vocals and backing effects. “Wasted Hero” is the first proper track. The music is slow and weighted, and the vocals are low hums. From there, the sound picks up and drops again a couple times. There is also a bit of melody in the song, though it is hard to find given the heavy tones in the music. “I’m Going to Haunt You (When I Die)” features a heavy and punishing sound but again, there are some nice melodies in the chorus, and the meter shifts a few times throughout the song. The chorus is quite catchy…something unusual for Doom.

“Aurora Australis” begins with light, dreamy atmosphere, and you can picture someone looking up at the clear skies at night, alone. It’s very peaceful. There is a good mixture of clean and harsh vocals from there, with more melodies. The title track is loaded with guitar effects. They help the sound to expand. “What is the measure of a man,” he wonders. The vocals are super-low and somewhat demonstrative at times, while the music shifts from major and minor chords, never fully committing to either. “Victim of a Vampire” is a sadder affair, as the title suggests. The held lead guitar notes really allow the pain to soak in, and the vocal harmonies are very expressive. “Magic Keys” is a short little instrumental, with ominous tones from the leads and the steady keys. It definitely has a magical sound.

“Falling Star” closes the album. The opening tones are bright and melodious. The expert shifting of the meter and the sound keeps the listener on their toes. Although the album is heavily steeped in the traditions of the founding fore fathers of Doom, the band also strikes out on their own, with a modern twist. The way they use melody, for example, is a welcomed addition to their brand of Doom, as is their use of keyboards at just the right time. This truly was a pleasure to listen to.

Rating: 8/10