The second album of the Spanish band The Holeum, as often happens, seems destined to divide the critics: frankly, however, certain criticisms, however legitimate, are difficult to justify if not with a superficial approach to the work. Sublime Emptiness is in fact a work of value, in which the band led by the imposing vocalist Pablo Egido deviates at more than one juncture from a base doom to arrive at a post metal oscillating between passages more tenuous and rarefied and fierce outbursts worthy of inhabitants of the opposite shore of the Iberian Peninsula as the Process Of Guilt. What binds everything together, making the product less difficult than it may seem, is a melodic taste that, although exhibited in minimal doses, it turns out to be able to crack the sound wall to represent what cannot be described in words as located beyond the human reasoning (the sublime, in fact). Even progressive and experimental veins (Geometric Dance) find their place in a work that The Holeum have composed without worrying about making it all more attractive and don’t deceive the sporadic use of clean vocals (the choice of a rough track like Protoconsciousness to match the video launch of the album is eloquent in this sense); despite this, Sublime Emptiness exhibits more than one passage of great intensity, worth for all the remarkable closing track Metempsicosis. While not being the masterpiece capable of upsetting the hierarchies of the darker metal scene, this The Holeum‘s latest effort confirms and reinforces the excellent impressions received after the release of Negative Abyss, supported by a firepower in live, personally tested, which is a further added value for this excellent and underrated band.
2019 – Lifeforce Records