Genre: Neo-Classical / Dark Ambient
01 In Nomine Noctis
03 Beyond Good and Evil
05 Labyrinths of Zin
06 The Green Fairy
07 Intoxicated Heart
08 Asphodel Meadows
09 De Profundis
Does anyone remember the theme song to that shitty “Outer Limits” remake show/spin-off from the nineties? If you do, then that’s the kind of thing you’re in for with this album. Listen through it the whole way through and you’ve got something to play in your next Halloween’s home-made haunted house. That’s pretty much the overall vibe of this horribly pretentious album. I had a problem with it from the start because of the cheesy album description that opens with “Welcome and be amazed…” Almost all the tracks are too similar and are way too “soundtrack”. To top it off, this is an “Absithe” album. With the reputation it has, you would think that this would be in good taste, but maybe I. A. S. had just a bit too much. People! Let’s not hype this anymore… Just because it sets you back seventy or eighty bucks does not mean you can glamorize it. After all, it’s just booze…
As I had mentioned, the first four tracks really do sound like the intro to the mid-late nineties episodes of “The Outer Limits” , with the standard detuned piano in what seems like the exact same set of chords, just played at different speeds. The clichéd use of sounds of howling winds are also here in a pretty obvious and seemingly patronizing attempt to create “atmosphere”. Whatever strings, be they synth or actual, that are thrown in are completely devoid of any real expression. In fact, most of the keyboard work of Onoskelis is like the stuff of eighties horror flicks… After the initial four tracks, the fifth, Labyrinths of Zin, introduces a lame down pitched voice as you can pretty much tell how the structure of the song takes you through something of a cave… Turn the corner and there’s the monster speaking to you. Geez… Throughout the work the same ‘ol EBM kick drum is there also, but watch out! It’s got an insane amount of reverb! I’m guessing to make it sound like footsteps through a dark hall or something.
If I were obligated to give consideration to any redeeming qualities of this album, it would have to be the eighth track, Asphodel Meadows. It’s backbone is the same two-chord progression used to convey a kind of joyful sorrow used by so many, but even here the female voice is skipping in a weird processed way and kind of ruins the ambiance created by finally hearing something different.