windbruch-nostarsonlyfulldark-reviews

Review from Forgotten Path Magazine; Issue 6

Thu, 25 Sep 2014 21:33:07 +0100

From: Forgotten Path Magazine; Issue 6

Published: November 2014

What’s up with DSBM nowadays? It used to be an interesting, atmospherically convincing genre with experimental tendencies and various musical influences. Now there are so many bands claiming to belong to this genre, but their music does not have an expected emotional effect; there’s too much Post-Rock and not enough depression. Windbruch is one of these types of bands. The strange thing about it is that their lyrics are said to be about melancholy, depression, but their cover features an owl next to a pine. Maybe the owl is not an optimistic bird and a dark night sky is gloomy, but we need human drama here. This issue was addressed only in the middle of the album, when the existence theme was mentioned in the lyrics.

Compositions of “No Stars, only Full Dark” are quite professionally executed, although this down tempo music does not require much effort. There are slightly too many Post-Rock components and the atmospheric part is not so convincing. However, the album’s duration was chosen wisely - seven tracks, each lasting twelve minutes long is a perfect choice for this slow, slightly monotonous, Doom-like music.

Windbruch’s album isn’t too engaging and there’s not that much Metal or atmosphere. On the other hand, people who like easy, instrumental music might enjoy “No Stars, only Full Dark” after all.

Rating: 5/10

Reviewed by: Odium

Review from Necromance Webzine

Thu, 25 Sep 2014 21:07:59 +0100

From: Necromance Webzine

Published: September 3, 2014

Original Link

*Google translation of Spanish review

From one of the most cold and desolate areas of Russia, Siberia, comes WINDBRUCH a draft Iluzii Optice, who was in charge of recording all instruments and give life to the 7 themes that confirm this work and have been edited to through the seal Hypnotic Dirge Records. A job where we will find a depressive black metal and slow cut, heavily influenced by the atmosphere of the place of residence Iluzzi breathe and transmitted in a dense, mesmerizing and very atmospheric sound; a sound that we might remember a bit like a combination of bands like Ulver, darker TIAMAT or depressive sound WINTER and resulting in some issues where mostly dominated by slow sounds with that stifling and gloomy aftertaste, marked by a great job of penetrating vocal synthesizer and records linked to phases where the music becomes more aggressive make this CD a striking work that Black / experimental Doom will catch you from the first listen you give and take you on roads of despair and madness. A job that I recommend do not miss if you spent enough listening to the aforementioned bands now.

Rating: 70/100

Reviewed by: David Déniz Square

Review from Teeth of the Divine Webzine

Thu, 25 Sep 2014 21:06:45 +0100

From: Teeth of the Divine Webzine

Published: September 3, 2014

Original Link

Canada’s Hypnotic Dirge Records is really carving a niche out in the style of the label’s namesake, and their three early 2014 releases from Epitimia, In My Shiver and Russia’s one man project Windbruch are no exception.

No Stars, Only Full Dark is the second album from sole member Illuzii Optice, who performs all of the instruments, and it fits in line perfectly with all of Hypnotic Dirge’s other bands and releases being a depressive, melancholic style of black metal that’s rife with emotion and somber, shimmering riffs. And while this affair centers around more naturalistic themes as opposed to suicidal ones, the restrained sense of coldness (not surprising considering the band is based in Siberia) sadness that fill the generally mid paced and atmospheric material is pretty well done.

The production isn’t too thin, with clean shrill guitars and the prominent, throbbing bass lines remind me of Ulver‘s Bergtatt, while Optice himself keep the vocals a pretty standard pained rasps as opposed to any over the top hails, moans or wails (though a few spoken words are used on “Only Full Dark” and some clean vocals appear on the lengthy “Neswa Pawuk”). The whole affair is very muted and restrained, like a black metal funeral procession in the woods, a few delicate keyboard tinkle here and there (“No Stars”, “Only Full Dark”) amid the more languid atmospheric and ambien(t) moments making for perfect fall asleep head phone music (notably closer “Flashback to my Lake”).

And the lack of truly explosive or sudden black moments wont startle you from half sleep either as the more riff and guitar based numbers like the rangy, 10 minute “No More Entry, No More Exit” or more pure doom of “City on Fire” are still pretty doomy, languid and mopey often barely getting over a downtrodden slouch. Even when the pace does pick up, such as the short blasts early in “No More Entry, No More Exit”, it’s pretty passive, like it really doesn’t want to be a blast beat but is doing it anyway. It’s actually a pretty nice dynamic that give the blasts an gloomy and despondent feel.

Of the label’s three early 2014 releases, this one is middle of the pack between the overly ambitious double album from Epitimia and the experimental In My Shiver, but Obsidian Tongue‘s A Nest of Ravens in the Throat of Time still stands as the label best release so far.

Reviewed by: E. Thomas

Review from Scholomance Webzine

Thu, 25 Sep 2014 21:06:02 +0100

From: Scholomance Webzine

Published: September 3, 2014

Original Link

*Google translation of French review

Windbruch is a solo project of Depressive / Atmospheric Black Metal led by multi-instrumentalist artist, iluzii Optice his distant and cold Siberia. It was in 2009 that, "Collision of the Worlds," the first album of the One-Man Band out via Sun & Moon Records. In 2013 a split entitled "Silentium! "Made with Gmork and Depicting Abysm released by Hypnotic Dirge Records. Then in 2014, Windbruch always on the same label released his second album, "No Stars, Only Full Dark."

This new album is partly based on the novel, "Nomads of the North" by American author James Oliver, released in 2007, has the story of two fugitives in the Canadian tundra. The artwork is also a tribute to the book cover with the unique use of Black and White. It conveys the idea of the cold that affects the imaginary and the everyday reality of the artist but also of the hero of the novel. The black cover is a message from heaven, which thus shows its infinity. In the end the man is nothing between these infinite spaces whether white or black. Title explicit that idea, "No Stars, Only Full Dark." Idea that the musician is trying to convey through his music.

The album begins with 'The Dance of Liquid Fire' on a sizzling, probably a radio communication. Then it without cutting back with other men. The music starts. An acoustic guitar with his melancholy riffs, eclectic second bottom. Both echo and echo. The atmosphere is icy, a man sigh means alone. The entire "No Stars, Only Full Dark" is an ode to the frozen wastes and the vastness of the universe. Each element is represented with an instrument. Keyboards and sounds more "electronic" provide a spatial dimension to the music with the cold side, sanitized, like 'No Stars'. On this basis, a music box refers to childhood fears and reinforces the impression of withdrawal. Depressive Black side feels when these little musical passages where everything is quiet. The guitars and drums are fairly simple in their composition, seeking only to create a special atmosphere, a soundscape. The rather long pieces allow this total immersion in the world of the artist. The clear guitar reflects the Siberian while the guitar, more typical Black Metal strengthens the Darkness and Depression tundra. 'Neswa-Pawuk' has a few riffs Post-Black to support the latter idea.

The voice is an important element in Windbruch, without being the main element. It is out of this musical, more contemplative landscape. It is this man lost between these two cold vastness. While incorporating the landscape into reality with words in Russian. The listener can imagine the feeling of being lost himself in the Siberian steppes. There are two styles of songs. A Black / Depressive accompanying Black most parts of the music. The quiet parts and Post-Black are, in turn, carry a clear vocals. Singing iluzii Optice and plays on several emotional registers. Aggressive without being violent with Black Metal parts and melancholy on the parts that could be described as Post-Black. A small portion narrated on the title 'Only Full Dark' reinforces the romantic side of the music Windbruch. This is actually a sample taken from the Russian film "Stalker". (Stalker [Сталкер] is a Soviet film directed by Andrei Tarkovsky, released in 1979 as The Stalker is an English term meaning "stealth fighter and quiet" (literally, hunter approaching, stalker, or tracker).

"No Stars, Only Full Dark" is an album that seeks to portray reality and emotions own iluzii Optice. All on Black Metal Atmospheric quality without revolutionize the genre. The originality of the project lies in the soundscapes created by the artist and this sensibility that draws the novel but also the landscapes that surround everyday. This very personal project can not then touch that listeners who, like him, are sensitive to these issues. The album was introduced to me as " a soundtrack for cold and lonely winter nights. '. For once, the description was perfect.

Reviewed by: Morgan

Review from Transcending Obscurity Webzine

Wed, 13 Aug 2014 08:50:51 +0100

From: Transcending Obscurity Webzine

Published: August 2, 2014

Original Link

Windbruch from Russia has released a sublime album. At first it seemed too simple and in parts saccharine for my taste. But the CD wouldn’t come out of the player because the music always seemed apt for my mood. I couldn’t get over the beautiful opening intro song The Dance of Liquid Fire and often had it tied up in a loop. The next song was another hurdle for me, simply because it was strongly reminiscent of the gorgeous Hisstonend, also from the same country. It weaves music comparable to Agalloch circa ‘Pale Folklore’ with the riffing of Hisstonend – that strong, meaningful riffing and its impact. Unlike Hisstonend, the vocals are active here but never being too prominent. That works because it allows the music to breathe more effectively, its clean and inspiring riffing in particular and also the thin but ever-so-palpable atmosphere. Too often the fragile melodies are burdened under music that’s unsuitably heavy just for the sake of meeting an aesthetic level. The songs are fluctuating in their expression but they are all beautiful and arranged very well to leave you engrossed. If the music weren’t so beautiful in its expression, it’d be like a tool of Satan enrapturing you helpless and paralysed. I didn’t think I’d end up loving this piece of music that otherwise would be too mild and atmospheric in a Post-Metal way for my liking. Allow me to elaborate.

The songs are like memories, the good ones, seamless floating through the prism of your mind. It feels light, it feels good. It’s perhaps too accessible but we’re past that now. It creates a mood of its own and it’s infectious. Neswa-Pawuk is way too smooth – the sound of the music is almost felt on your face like a breeze. Flashback to my Lake has a distinct Post-Metal feel but it’s something that will render you speechless. For the closer, it’s just a breathtaking albeit short piece. The album is full of stuff like this, some long, some short, periods of time-bound happiness or expression. The music ebbs and flows but gently, charmingly. The vocals are modified to suit the music, in this case even adopting low, almost whispered tones. The music is not one-dimensional which happens to be its biggest strength. It’s not trying to be diverse for the sake of it, but it’s certainly not rigid. That would get boring. Even the aforementioned bands stick too much to their sound for their own good perhaps, but this one is just masterful. I’m going to try and introduce others, perhaps non-metalheads to this music to gauge the impact this kind of mesmerizing music leaves. Life is like that. Everyone, including you, the reader, deserves an introduction, a sharing of something meaningful if you will. This album is untouched almost by the tragedies of life – like a child’s joy or feelings. It’s almost unfair. Yet there’s that inherent bittersweet touch that arises from the soulful melodies as if it’s a norm on this place. Perhaps there’s a better place for us to be.

Indeed then, ‘No Stars, Only Full Dark’ is one of the remarkable and surprising highlights of this year. While people like that sort of thing, I’d like to believe good music is timeless. This is remindful even of the Pink Floyd albums and at the same time Alcest, with subdued emotions. Yet it’s Black Metal, atmospheric in its expression but without the drama. I envy the fact that the music is so clear in its intent – how can life be so simple? That’s the charm. This one is a stunner, a slow grower, one that will haunt you at night.

Reviewed by: Kunal Choksi

Review from Deaf Sparrow Webzine

Wed, 13 Aug 2014 08:48:27 +0100

From: Deaf Sparrow Webzine

Published: August 2, 2014

Original Link

You can imagine from word of mouth, dirty internet forums, those days where you somehow lose an hour or two diving into Wikipedia, that Russia is a cold, wintry, place and holds the largest chunk of the world’s largest biome (which is the source to a wonderful documentary about it available on Netflix). While Windbruch hasn’t explicitly stated that this album is to serve as the atmospheric background to conjurations of conifer forest terrain, they have a message about ceasing our exploitation of the natural beauty of the Earth. Here is their quote on the Bandcamp page:

“The whole album is something like a message from silent space or another reality. It is a sonic message to humanity to stop the exploitation of our home planet. Hundreds of years of war and overconsumption of the gifts of nature can not last forever. The future is coming. The dark future without stars. This concept finds reflection in the novel “Nomads of the North” by J. O. Curwood in some chapters and the cover itself refers to the same novel”.

The weird thing with No Stars, Only Full Dark is that this isn’t bleak, atmospheric black metal – not too cold, not too dark, not too lonely or anything depressing. It’s more motivating than anything and feels more like those nights where the snow falls slowly, the wind isn’t bitter, and the mood is pretty pleasant. Now don’t get too caught up in these words because there are definitely both darker and lighter moments on the album but neither linger too long. This keeps a pretty fair balance resulting in no bad tracks – each is very solid and well composed. It’s clear Windbruch put a lot of thought into the structure and had a clear idea of what they wanted to do. The transitions are great, there is nothing abused like synths, tremelo picking, or anything else black metal bands like to turn into a beaten dog. The only problem found was the weird chime-y sound in those wind-up ballerina boxes on “No Stars.” Initially it was loathed and kind of ruined the song but it grew in time and works pretty well. “Only Full Dark” has to be the best and brings back previously mentioned sounds from “No Stars” making a full loop and ending the “No Stars” and “Only Full Dark” combo pretty well.

If you follow any of us at Deaf Sparrow, you know how much we like to jerk off Hypnotic Dirge Records and how they’re a great label. We are incredibly fortunate to receive their support and receive releases such as No Stars, Only Full Dark. Luckily for you and everyone else, all of their releases are currently “Buy Now – name your price” on the Hypnotic Dirge Bandcamp page so please stop by and help them out. Toss them a few bucks, like them on Facebook, be the generous metal fan you want to be.

Reviewed by: Cole Olson

Rating: 5/5

Review from The Sound Projector

Wed, 13 Aug 2014 08:45:04 +0100

From: The Sound Projector

Published: July 30, 2014

Original Link

On first hearing this album, the second by Russian one-man band Windbruch, hailing from Nizhnevartovsk in the Khanty-Mansi region in western Siberia, I get an impression of raw and sometimes angry music, ragged and sharp in tone with a full bass backing, shaped into actual songs edged with delicate ambient sounds and tones that add touches of ice coldness.

Lone Windbruch member Iluzii Optice brings skill and imagination to craft an album of self-contained and clearly defined songs that feature as much cold space-ambient synth, field recordings of nature and what might be termed “soundtrack music” as they do raw suicidal black metal. The path “No Stars …” takes might not sound different for the most part from what other one-man or two-men BM projects have done but it’s perhaps ideal at this early stage in his career for IO to get the balance between a more commercial style of BM rock pop and his more abstract experimental tendencies right, and to gain the support of a loyal fan-base, before he starts stretching the formula to his own ends.

The album begins strongly with “No More Entry, No More Exit” (taken together, the track titles suggest an arc of being enticed by the city, ending up being trapped there, reaching one’s nadir and experiencing a crisis) which is actually the second track, the first being an extended introduction. The music is robust and hard-hitting; as the album progresses, more ambience, especially at the start and end of each track, and melodic keyboard are brought in, and the album becomes more post-BM in style. Vocals, where they appear, are upfront in the music and are deep and gravelly, almost death-metal in style. The tension builds up through each track and flows into the next; ambient passages relieve some but not all of the tension so the suspense and momentum are still present.

Later tracks like “A City on Fire” and “Only Full Dark” are ponderous and include cold, forlorn space-ambient melodies and spoken-voice recordings. There is a definite urban-blues / post-rock feel which might seem surprising for a Russian BM band, especially one so far away from Europe and North America. The latter track throws away actual music and becomes entirely experimental in most of its second half; its reliance on near-inaudible drone rumble beneath a Russian-language radio monologue is daring. “Neswa-Pawuk” has a dreamy shoegazer atmosphere, a bit like a harder version of Alcest. From this moment on, the album has a sunnier and more positive outlook even if its central protagonist is still stuck in a grim urban environment.

The album is very self-assured and demonstrates confidence in its combination of BM / ambient / post-rock. Most songs are well-defined with some allowance for experimentation. There is something to please most people here.

Review from Heathen Harvest Periodical

Mon, 21 Jul 2014 17:09:40 +0100

From: Heathen Harvest Periodical

Published: July 14, 2014

Original Link

Hypnotic Dirge Records is among the few labels I consider myself to be ‘following‘, so to speak. The label’s roster (and subsequent Bandcamp page) is a proverbial treasure trove of extreme and experimental music. Even the less impressive experiences I’ve had with them have been at least intriguing. I suffered little hesitation, then, when Windbruch were brought to my attention. Even if one-man atmospheric black metal bands have happened to be an all-too common trend in metal this side of the new millennium, Windbruch’s latest album “No Stars, Only Full Dark” was recommended to me with telling enthusiasm. Ignoring the suspiciously odd phrasing of the title, I dove into a song and was immediately arrested by “No More Entry, No More Exit”. Even now that it’s been quite sometime since first hearing of Windbruch, I cannot recall many times where an atmospheric black metal band drew me in so much with a single track. Even disregarding the full album, “No More Entry, No More Exit” is a brilliantly crafted piece of atmospheric black metal, and one of the best demonstrations of a one-man black metal band’s potential to amaze and emote. It’s a perfect navigation between dynamics and repetition, cold atmosphere, beauty and whatever else a listener may choose to look for in the genre.

Now, if only the rest of the album moved me that way…

“No Stars, Only Full Dark” ultimately strikes me as a somewhat underwhelming affair, offset in large part by the valour of the aforementioned standout. I don’t believe it’s due to a lack of skill or vision either; Windbruch mastermind Rodion Mikhailov sees fit to tackle a wide variety of sounds and styles here. Beyond the ‘effective repetition’ typical of this particular breed of atmospheric black metal, Windbruch dabbles in ambient and shoegaze (maybe ‘darkgaze’- is that a term yet?). As evidenced in the gone-too-soon track “A City on Fire”, Windbruch even flies close to the sort of crushing doom metal I’d most closely relate with the UK’s Esoteric. Although the stylistic drifts compliment Windbruch’s general atmosphere of melancholy, it does feel like the variety has robbed “No Stars, Only Full Dark” of a clearcut sense of identity.

In spite of the album’s stylistic variety, Windbruch actually manages to navigate the individual styles quite well. If there’s a song which I’d imagine most closely resembles Mikhailov’s musical vision with Windbruch, it’s “No Stars”. While some atmospheric black metal has a tendency to feel hypnotic and pleasantly dozy, “No Stars” actually sounds like it could pass as a sort of metal lullaby. Hollowed chimes- the likes of which you might expect to hear in a child’s nursery- make up the central idea, while dreary guitar chords thunder underneath.

While it’s no doubt the most aggressive lullaby I’ve ever heard, “No Stars” possesses a very somnolent quality, virtually unheard of in any of the metal sub-families. As I’ve mentioned, “A City on Fire” half-heartedly flirts with funeral doom; Windbruch actually has some success with creating a convincing atmosphere with this notably more malevolent sound, but the song is over in three minutes- far too short for it to feel like any of Windbruch’s doomy potential was even slightly tapped into. On the other end of the scale (both stylistically and length-wise), “Neswa-Pawuk” is an overdrawn venture into Les Discrets-style shoegaze, complete with sullenly garbled vocals and innocuous instrumentation aplenty.

I’m left getting the impression Rodion Mikhailov has some great ideas for Windbruch; too many in fact. Funeral doom, atmospheric black metal, shoegaze and some brilliant ambient touches could have come together wonderfully in more focused hands, but with this second album it still feels like Windbruch is a project in the midst of getting its identity together. He’s a skilled vocalist (his black metal rasp is considerably throatier than the genre’s average), his instrumentation and production are both effective, and in spite of the album’s consistently frigid atmosphere, there’s no doubt that Rodion’s ambition burns brightly. “No Stars, Only Full Dark” demonstrates a partial realization of what that ambition can produce. To unlock that potential, Windbruch either needs to capitalize on one of these styles, or find a way to make it all come together smoothly. For the meantime, I’m left only partially convinced.

Rating: 3.5/5

Reviewed by: Conor Fynes

Review from Disfactory Webzine

Thu, 19 Jun 2014 19:48:20 +0100

From: Disfactory Webzine

Published: June 16, 2014

Original Link

*Google translation of Italian review

The art of discovering never fail, never stop repeating it against the Hypnotic Dirge Records , output quality always or frequently-as in this case-"valuations" came from an earlier self. Oh yes because this No Stars, Only Full Dark was there on the sidelines, ready to move indifferent to many, if not all, because it is increasingly difficult to disentangle and move in different outputs, then the time is always less, seems to fly in more details years pass. All well and good then the "exploitation" because the label has over time created a good following (although I think the gain is not proportional with the good that has been done, perseverance is passion, strength HDR!) , people like myself that 90% know that the product will be at least good value. And that is exactly what happens with the second disc of this one man band Russian, it is not a work of quality or excessive proportions innate spirituality, though in a small way can emerge doing their dark-muffled world something worthy of being tried it.

Melancholy, a pinch of martial gloomy, cold and "fat" united in the same pot, a typical Russian stamp to donate a bit of healthy "fire of the East" and keyboards in place "air conditioning" on everything. You will hear clearly the work of a single person and as such should be taken that this product comes gliding to us (such as the Owl cover) silently, its flavor comes slowly taking his sacred time (both in the single track that the entire disk .) No Stars, Only Full Dark Black Metal is neither rapid and impact any of that harrowing or highly depressive (melancholic as I said yes, and also add "strongly"), but is somewhere in the middle without lean to one side or the other, what is certain and highly concrete and the melodic turns to broad who can pull off those emotions function to be a "safe haven" (perfect example of the corner of No More Entry, No More Exit ), basically just what you should be looking for with this music. And if when part No Stars lose a tear do not be ashamed (the Burzum of Filosofem to give lessons here and elsewhere along the course of the work), basically what's sadder than a sky without stars?

No Stars, Full Dark Only one side fills to satiety, but in some obscure way to leave few traces behind it, like a ghostly figure that dances on the snow, you feel something abstract alternating sometimes with a hint "physical" ( For example, the pace of doom A City On Fire ), so we can say that the whole "open spaces" without objectively do anything so outrageous to do so. The Board undoubtedly is to take the work of all jet as if we were faced with a single long piece, so you can fully enjoy every little movement without the worry of evaluating such a song because so than some Hosah .

Beautiful also the diversity of the other two songs of long duration, one behind the other Only Full Dark and Neswa-Pawuk , quiet, graceful, quiet and straniantemente "intermittent" freebies night in our exclusive use and consumption. That is a little speech that can be done for a few TV series, we always expect great things, unbelievable twists and turns and when we see them we lose sight of the concepts like "hidden" thinking that maybe after a cool head are also the best. Watch whole is crucial for this type of discs, and if you do not you may end up slaves of yawns and inattention.

Is there still room for sensory and introspection? I want to believe you.

Rating: 7/10

Reviewed by: Duke Fog

Review from Rock Metal Essense Webzine

Mon, 12 May 2014 14:23:43 +0100

From: Rock Metal Essense Webzine

Published: May 12, 2014

Original Link

It 'was released in February 2014 No Stars, Only Full Dark , the second album in the study of the formation of the Siberian atmospheric black metal Windbruch

A disk of cold atmospheric black metal, often delicate and emotional melodies in its most refined, but also capable of showcasing a good masculinity and aggression where the pace becomes more urgent or more doom, or at times when it can emerge ferocious growl of good and expressive singer. Kinematic and enveloping, this product throws the listener into a world of darkness and evil, frosty, in an endless forest full of beasts, nightmares and fears. Mesmerizing and claustrophobic, the album is a perfect soundtrack for any winter night, distinguishing itself for the originality of its facilities (sometimes almost progressive) and the quality of every note played. especially the four compositions are longer and more articulated disk, in the order No More Entry, Exit No More, No Stars, Only Full Dark and Neswa-Pawuk , to show the public the most interesting side of this music and genuine, raw and appassionatni slipping away along their playing time. For a really successful album, which is sure to be well received by fans of these cool sounds.

Rating: 77/100

Reviewed by: James Mezzano