Poems to the Wretches Hearts

Empyrium’s origins lay in the Dark/Folk Metal of a slow kind, being inspired by a sad atmosphere, expressed through the vocals and the instruments used. With each album they progressed slowly but steady to finally leave the metal paths behind and heading for new shores in the genre of ambient and dark folk, which reached to some extend perfection on their last record Weiland. Though this is review is about Sun of a Sleepless, a completely different band in genre and in parts also in the line-up, it is necessary to shed light on Empyrium’s past or in general to understand the music and the idea behind this new group, as both contrary compositional approaches are interwoven. Markus Stock is quasi SotS and was also a main contributor of ideas to Empyrium and so are his trade-marks undoubtedly recognizable on this record; especially if one is familiar with the first two releases of Empyrium.

Though taken the previously mentioned issue into consideration, the overall difference becomes obvious from the CD’s very beginning. The attempt of this music was expressed in interviews as some sort of homage to the Norwegian Black Metal in its early beginnings with its rawness and cold atmosphere. Distilling this well known, often copied and somehow legendary ingredients again with ones personal note, is a recipe not unknown to the metal scene in general; focussing on the brewing of those elements together, always trying to stay close to the archetype’s compositions from the old days. Take a good portion of jangling, ‘rattling’ and tremolo-loaded guitars, add some monotonous and noisily sounding drums, put furthermore a croaking or distorted screaming voice into the dark brew and finally a small note of bass completes this dark mixture. Stir it well until a punk-like note becomes obvious and than fill it into an embracing frame that reflects some provocative statements towards society or life in general. Then cook it at 666°C for some time, but it should be mentioned that the less you heat it the better it will be accepted for his rawness in the underground metal-scene. For full enjoyment of the music drink a good deal of alcohol while listening to it. The less you understand, the better music you are listening to.

With a background like Empyrium and furthermore experience from his label Prophecy Production, Markus Stock knows how to brew all those ingredients together to achieve an optimal outcome. Yet despite his undoubtedly knowledge of the metal-scene and especially in the Black Metal, somehow the release is to moderate in the way that sometimes the brakes have not been loosened; somehow as if the ideas were there, but have not been explored to become full circle. Perhaps it is the impression of Empyrium still in mind or perhaps it is the expectations connected with Markus Stock and his prior releases that is a limiting factor in the enjoyment of this music. Comparing it to most other Black Metal underground releases, the music is not only good written, but also very good produced; both elements together create a dense atmosphere while listening to the songs. They vary between fast and slow passages, a croaking voice and a clean (remember Empyrium) one, between different ways of using guitars, all this is a positive contrast to a lot of releases in the underground.

In comparison with music of other underground Black Metal bands, the music of Sun of the sleepless has a good production in favour and in a way it all sounds like being constructed or planned and hence lacks of the undoubtedly characteristically rawness of the Norwegian archetypes. No ‘edges or corners’ (a proverb in Germany) exist in the tracks as every possible small and disturbing piece has pre-emptively been neatly polished away. Even though this EP is no disappointment, it also arouses no enthusiasm. With a sound of the early days of Empyrium the approach to create something new with the ingredients of raw Black Metal has a failure within and it is the approach itself that prevents the music from reaching a higher level. The connection to Emyprium is too close and the state of independence not to that extend elaborated that this release would be worth to be cheered as a now and promising band. If the listener is familiar with ‘A Wintersunset’, by listening to this album the memories of this record would suddenly appear before ones eyes and like a woken ghost it is hard to get rid of them again.

Thou, Whose Face Hath Felt the Winter's Wind
A Track which wakes memories on Dark Throne, especially with its riffs and atmosphere and it can be compared to their music on the Under a Funeral Moon, yet at 3:16 it changes to an Empyrium-like and folk-inspired interlude which at 5:03 switches again to the Black Metal inspired one. Nice to listen to, but bear my points of criticism in mind.

Grimme Pain
The sound is not such cold as the first track, but more aggressive and opens with Black Metal of a furious kind. At 2:21 it turns to short an acoustic segment which lasts till 2:53, but the songs stays slow and calm until the end of the record. Would the first part of the track be substituted with a more modest one, it could have also found its way unto an Empyrium record.

Nebelmond
A song with the characteristic vocals of Markus Stock’s old band, but on this occasion it works, because the grim atmosphere and the music fit together. This is perhaps the best song of the record and the most enjoyable. Especially the pending between fast and midtempo parts lifts the song above the level of the preceding ones and the dark croaking vocals complement the melodies neatly. In contrast to the other two songs the tempo is not interrupted but stays above a moderate level.

One question although does exist: Why these clear sound and way of dealing with such a genre, if exactly the contrary should be reflected with this three compositions? In a way the album is like experimenting with well-known ingrediences, but staying on the safe site of the boarder. More would have been possible with the ideas of this album and it is disturbing to see them wasted here.