First full length for the German duo Endlos, a reality so far unknown (at least to me) although, since 2012, has been the author of several releases from the reduced minutes. Judging by the value of Im Fallen Verlaufen it seems that the gradual approach to the first long-distance test was appropriate: the depressive black doom of the couple of musicians from Lower Saxony is in fact one of the most effective tests heard in recent times in this area. The album is not particularly simple and therefore needs several listens, as well as a good predisposition to the harshness, especially vocal, that Endlos propose in a scarce hour of music; the difference, in this case, is a variety of composition at times surprising that averts the repetitiveness of certain established patterns. The feeling you get while listening to Im Fallen Verlaufen is that of a musical and conceptual depth that goes far beyond the roughness caused by the scream sometimes ungainly or by the canonical blast beat outbursts. The spasmodic intensity of Tragendes Meer and Spiegelbild, the overwhelming rhythmics bordering on punk of Quand Vient La Fin (which features a female vocal contribution, as well as the softer Deranged), the emotional tension released by Zeitloses Schweigen and the suffused ending of the splendid Greifen, sweetened by the piano played by Déhà (Deos, Imber Luminis, We All Die Laughing, Yhdarl and more) that accompanies a convincing recitation, are moments that stand out within a compact tracklist for value and varied shades of interpretation. It’s clear that the work of Endlos is still placed within the black metal, if we really want to pigeonhole it in some way, but frankly, for spontaneity and compositional urgency, it goes well beyond the known styles of the genre, without indulging in dispersive experimentation or assorted avant-garde. Im Fallen Verlaufen is simply a work that fully expresses a potential of the first order, in possession of musicians capable of pouring in music the restlessness and malaise inherent in every human being who wants to look, every now and then, beyond the image reflected in a mirror.

2016 – Narbentage Produktionen