Zornheym’s Asylum reopens its doors.
Three years after their last show, Zorn (guitar/bass, Aktiv Dödshjälp, ex-Dark Funeral, ex-Devian), Scucca (guitar/vocals, Encrowned), and Bendler (vocals, Engulfing) now joined by Qual (drums, Prime Creation, ex-Morifade) are once again collaborating with Noble Demon for the release of their third album, Descending Into Madness.
The album opens with Prologue: From the Depths of Sêlasee, an introductory sample that already sets the stage for the haunting yet epic and meticulously crafted atmosphere the musicians immediately immerse us in, before moving on to Deus Rex, a track featuring both an imposing foundation and haunting melodies. Bendler’s roars are as visceral and expressive as ever, complementing his clean vocals which are equally impressive in their own right perfectly, and the progression flows naturally, even allowing the band to offer a calmer interlude before returning to darkness, leading into Somewhere Far Beyond, which takes over and reveals an even more pronounced contrast. The backing vocals multiply, echoing the orchestrations, while the riffs strike sparingly, just as on Deep Below, which quickly proves to be haunting thanks to its sharp harmonics that rage almost constantly, creating rather soft tones. The break will be perfect for getting the crowd moving at upcoming shows, but the solo quickly takes over, blending with the band’s Heavy Metal roots to deliver a solid sound before the vocalist comes in, followed by the theatrical final before Anneliese and its once again very ethereal guitars which blend beautifully with the keyboards and strings. A few cries break the established rhythm before creating a new, much more jagged one to continue the journey toward Alone in the Dark, an unsettling interlude that lets us catch our breath so we can better bang our heads to Gallow’s Oak, a massive track that resumes the aggression in a very natural way. The singer is even more unbridled than usual, both in his screams and his clean vocals, but the track is relatively short, and it gives way to The Funeral March, which is obviously inspired by the work of Frédéric Chopin and perfectly captures the striking melancholy while infusing it with the Swedes’ intense energy. The band follows up with the devastating Descending, a track whose chorus is the album’s title, and which quickly unleashes all its fury through growls and blast beats, but also knows how to make the most of its orchestrations to offer a fierce variety before the upbeat Come Sweet Death, the final track that stands out a bit from the others, featuring almost cheerful tones to live up to its name and bring the album to a superb close.
Zornheym is a band I’ve been following since its very beginnings, and with every release I notice its evolution. Descending Into Madness is the culmination of a titanic effort by the musicians, and it can proudly claim its place as a masterpiece alongside its predecessors.
95/100
