The Londoners Indesinence return to propose their dark death doom three years after the excellent Vessels of Light and Decay. III is, as you can easily guess, the third full length of the band, born at the beginning of the century but not too prolific in terms of record releases, in line with the rest of the majority of those who are dedicated to the genre, however, in this regard, it should not be forgotten that often these releases far exceed the hour in duration and this is no exception. It’s a lot, then, the meat on the fire for fans, who have the opportunity to listen to one of the best bands as underrated of the entire scene. The peculiarity of Indesinence is basically to exhibit a threatening and restless version of death doom, in the sense that the comforting aspect of the genre is often replaced by violent accelerations, almost a tear to react to the inevitable fate. The double-drum bursts appear without warning and contribute to keep the listener always on the edge, almost with the function of preventing him from being overwhelmed by melancholy, abandoning himself to illusion. The sound of the band is in line with that of the British school, then with Esoteric as a partial reference but, of course, with an extreme soul much more highlighted and a more direct impact, in a stylistic area therefore closer to death than to funeral doom. Nostalgia, the first real song after the intro Seashore Eternal, photographs the sound of Indesinence at its best: in this track we find everything that the London trio puts into their sound: slowdowns, rages, evocative melodies and the effective growl of Ilia Rodriguez. Embryo Limbo moves along the lines of the previous track, while Desert Trail is cloaked in an annihilating darkness, both in its funeral and in those almost brutal that the excellent guitar solo ends up joining ideally. Strange, and not a little, Mountains Of Mind / Five Years Ahead that, already from the title would seem to consist of two different tracks, and so it is in fact, with the not insignificant gap between the deadly atmospheres that unfold for over ten minutes and the more catchy gothic doom to Paradise Lost of the last three turns of the clock; bizarre choice but the end result is still convincing. The desperate imprint of the voice in Strange Meridian stands out on painful keyboards along its seventeen minutes certainly difficult to digest but truly magnificent, in which the light let filter from the lead guitar in the second part is something more than just a glimmer. The title track, finally, is nothing but a long track of ambient drone matrix, well-made but that nothing adds or detracts from the value of a work that is proposed among the best of the year in the field for its great intensity.

2015 – Profound Lore Records