Review 2570 : End of Green – Twinfinity – English

End of Green returns to its first love.

Formed in 1992, the band played Doom, notably on their first album – Infinity, released in 1996 by Nuclear Blast – but slowly drifted towards an Alternative/Gothic mix they called “Depressed Subcore”.

In 2025, Michelle Darkness (vocals/guitar), Oliver “Kerker” Merkle (guitar), Michael “Sad Sir” Setzer (guitar), Mathias “Lusiffer” Siffermann (drums) and their new bassist Andreas “Hundi” Hund (Undertow) offer us the chance to rediscover their first release with a re-recording called Twinfinity, courtesy of Reaper Entertainment.

For connoisseurs of the band, the album is certainly a one-of-a-kind gem, and I understand that perfectly. But for me, as a newcomer to the band, I’m greeted by the melancholy of Left My Way, which quickly fascinates me, allowing my mind to wander through the ethereal riffs and hypnotic vocal parts. Some moments are more energetic, like on Away, which reminds me of Post-Metal thanks to a modern mix allowing the band to manage its dissonance and airy melodies while remaining quite heavy. The final wrenching howl gave me a few shivers, then choirs let us join Seasons of Black and its bewitching shadows, soon joined by a rather mysterious vocal that helps us escape. The track is quite short, especially compared to the nine minutes of Infinity (originally six and a half), which is again anchored in soaring influences with a few waves of heaviness, but it’s mainly the gloomy tone that I remember, just as on Tomorrow Not Today, where the introduction remains in this universe, while the vocals add the luminous touch. A few slightly livelier passages make their appearance, along with some vocal diversity, and then Sleep takes its place, alternating heavy rhythms, joyful flights and thick rhythms, before finally abandoning us with You and its catchy jerky riffs. The track is undoubtedly one of the most surprising, with its vindictive rhetoric and choruses bordering on punk, but Nice Day To Die brings slowness back in the company of heady harmonics and, above all, an engaging mix in which the vocals appear from time to time. No More Pleasure returns to its disquieting Gothic roots, with touches of saturated vocals adding to the obvious diversity, before finally giving way to silence.

I also listened to the 1996 version, also featured on the album, and there’s no doubt that the band’s sound has evolved. From a macabre, chilling doom, the band has evolved towards heavier, more soaring nuances, but still as ethereal and sincere as ever. The two tracks that have changed the most, almost sounding like two totally different tracks, are undoubtedly Away and Sleep.

More than a rebirth, Twinfinity reveals a totally different character to the album that marked the starting point for End of Green. Whether Infinity made its mark in its own time, its twin gives it a whole new dimension.

85/100

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