Daniel's Forum Threads
Paysage d'Hiver - "Steineiche" (1998)
Steineiche is the 1998 debut album / demo (delete as necessary) by a young Wintherr (Tobias Möckl) and his fledgeling Paysage d'Hiver black metal project. In its most widely available version it consists of three lengthy tracks, each quite distinct, and has a runtime around an hour. The original, limited edition, CD-R version had a fourth track, Déjà Vu, which doesn't appear on subsequent versions and which I haven't heard.
Even at this early stage it was evident that Wintherr had an uncanny knack of wringing an enormous amount of atmosphere from the most basic of palettes. The length of the tracks inevitably leads to a degree of repetitiveness, but Wintherr's genius is in never allowing such to become monotonous or boring, but continuously evolving each track so that listener engagement is maintained, whilst not straying too far from the original premise and enveloping and immersing said listener in the atmospherics. The production values are exceedingly lo-fi as anyone familiar with the project would already guess, yet Wintherr works this in the music's favour, using sparse, lo-fi recording techniques to infuse his work with an inherent iciness that feels sharp and brittle like winter frost and is eminently suited to the atmosphere of this album in particular and the wider concept of "The Wanderer" that makes up the entire discography of the project, thus laying out his manifesto very early on.
As I mentioned at the outset, the three tracks are each very distinct, yet they complement each other inordinately well. The opener "Die Baumfrau" ("The Tree Woman"), begins with an ambient intro complete with that staple of Pd'H releases, samples of a winter wind blowing frostily from the speakers, before erupting in a shivering blast of black metal iciness that is probably nearest to what most would expect from the project, but which is no less effective for that, it essentially being the acorn from which that particular black metal oak germinated. The riffing and blasting is of a pummelling intensity and the high-pitched shrieks are searingly harsh and sound like someone taking a power sander to an orc's balls, but the track feels even more sinister when these give way to a deep, spoken-word section where the vocals hover around on the edge of audibility before the frantic shrieking reasserts control. Subtle little details like this, along with the insertion of a gothick-y guitar melody over the main riff in the middle section and another near the track's end that sounds like bluegrass banjo-picking, prevent the track from becoming stale whilst still maintaining the direction of travel, a skill with which Wintherr has proven to be admirably proficient over the years. By track's end, such is the impressiveness of his nascent songwriting ability, you don't even realise that twenty minutes have elapsed.
For the second epic, very different, track we get to hear from The Tree Woman's spouse "Der Baummann" (The Tree Man). This is a much more moody-sounding piece that has a doomier ethic with a guitar sounding at times very similar to Celtic Frost, or more accurately Triptykon. Overlaid with thin keys and a picked guitar melody and featuring guttural croaking vocals mixed quite low, this has a sinister, ominous edge to it, contrasting superbly with the savagery of the opener, as if the threat of "Der Baummann" is deeper and more profound than the mere physical violence of "Die Baumfrau". Ending with a tortured (possibly synthesised) violin scraping at your mind, the track seems to threaten the annihilation of soul as well as body.
The closer is a twenty-five minute ambient piece with a haunting, ritualistic atmosphere. Now I am not known for my patience with long ambient tracks. My dislike of "Rundgang um die transzendentale Säule der Singularität" on Burzum's "Filosofem" seemingly flying in the face of popular opinion, for example, but Wintherr here shows Varg how to construct a lengthy epic with quite simple building blocks that never threatens to become tedious. From ritualistic and almost martial-sounding beginnings it reaches for the stars and becomes more cosmic and occult. With barely audible spoken vocals that feel like the probings of a Cthulhian titan seeking to escape its cosmic prison, it hints at secrets of the universe that a mere man's mind could not possibly comprehend, nor soul withstand. Ending with a female operatic aria, "Der Baum" leaves a quite stunning impression.
I must confess that, for some inexplicable reason, I had never checked out this debut until now, but now I have I would probably list it as one of Paysage d'Hiver's most interesting releases. The songwriting is extraordinarily accomplished and as he was responsible for everything on the record, Wintherr's technical competence cannot be sniffed at either. Whilst I accept that some may struggle with the sparse production, I find that the lack of high production values removes a layer of artifice from between artist and listener and allows an unvarnished reopresentation of Wintherr's intent to be heard, to everyone's benefit.
83/100
Empyrium - "Where at Night the Wood Grouse Plays" (1999)
This German act began life as a folk metal outfit before deciding to drop the metal altogether in favour of a purely organic dark folk sound with their third full-length "Where at Night the Wood Grouse Plays" which is essentially the product of multi-instrumentalist Markus Stock (Noekk/Sun of the Sleepless/The Vision Bleak/Autumnblaze/Deinonychus) & his flutist wife Nadine Mölter with Empyrium & Noekk band mate Thomas Helm providing some guest vocals here & there. It's obviously been inspired by Ulver's "Kveldssanger" sophomore album & certainly has its moments (see wonderful album highlight "Dying Brokenhearted" or the excellent "The Sad Song of the Wind" for example) but it fails to reach those peaks regularly enough to see this becoming one of my go-to dark folk releases. I do think the duo have managed to achieve a similar level of quality to the Ulver record that inspired it though. In fact, I think I might slightly favour "Where at Night the Wood Grouse Plays" to tell you the truth but I won't be placing Empyrium on the same shelf as artists like Tenhi or Vàli just yet.
For fans of Uaral, Vàli & "Kveldssanger"-era Ulver.
3.5/5
Desecrator - "Subconscious Release" (1991)
I fucking love early Autopsy and so too did Desecrator, apparently. Hailing from Nottingham, Desecrator was formed in 1989 by brothers Mike and Steve Ford (bass / vocals and guitars respectively) alongside drummer Lee Hawke. After listening to "Subconscious Release" I have no idea, but I am guessing they formed after hearing Autopsy's debut "Severed Survival", released in Spring of '89, deciding that was what they wanted to play. Now, obviiously, this isn't as good as any of the Californian's early releases, but it is a decent stab at reproducing their style in a British context. Bear in mind that at this time the big UK death metal bands came at the genre from a grindcore background, Napalm Death, Carcass and even Bolt Thrower played a blasting, high tempo version of death metal, so Desecrator, looking towards the hulking, often slower-paced, abyssal-sounding death metal of Reifert and Co. were swimming against the tide somewhat. Even more atypically, the album boasts several quite long tracks with four exceeding seven minutes in length, the band unafraid to drop into a slower, doomier tempo to add variation and atmosphere during the longer track lengths. They don't completely turn their back on the prevailing winds though, with the quick-fire medley of "Insult to Intelligence" and "Deadline" on side 2 clocking in under two minutes they give a nod to the deathgrind brigade.
To be honest the album is front-loaded with the title track kicking things off and being, by quite some way, the best track on the album - think "In the Grip of Winter" or "Gasping for Air" level good. Second track "Nothing Changes Anything" is also pretty great with a hot opening riff and a gothicky, atmospheric mid-track break, but the rest of the album struggles to live up to the promise of these two opening salvos. Don't misunderstand, the rest is fine for what it is, but a faint tinge of disappointment is inevitable after such a promising start. I am no musician myself, but I get the feeling that the band are a little limited technically, as illustrated by the generally lacklustre guitar solos and the d-beat drumming not always cutting it, leaving the listener yearning for a good old blastbeat to shake things up and hit the gas pedal. Whilst I acknowledge that the band had technical limitations, these probably don't bother me as much as they do some metalheads, I am quite partial to a slab of loose-sounding deathly carnage and when the band are in full flow I am happy as a pig in shit. However, the uninspiring solos and the odd clunky transition do pull me out of the moment, fourth track "Repressive Acceptance" for example has a couple of instances where the leadwork is quite poor and ruins a good headbang as the main riff is decent and gets me nodding along quite effectively up until that point.
In 1992 the band changed their name to Consumed and went off in a more punk rock oriented direction, leaving us with this remainig as the only testament to a promising, if technically limited, early UK death metal act. It is interesting if ultimately inessential UK death metal release that even a Dan Seagrave cover couldn't save from relative obscurity.
3.5/5
Fennesz - "Endless Summer" (2001)
I bought this third full-length from Austrian electronic producer Fennesz on CD shortly after it was released but I can't remember for the life of me why because I don't find it very appealing now & don't think I did back then either because I haven't returned to it in all the years since. "Endless Summer" offers a noisy glitch sound that lacks the structure to make the song-writing work for mine. There are a few tracks that I quite like (see the ambient "Caecilia", my personal favourite "Got to Move On" & lengthy closer "Happy Audio") but it's not enough to overcome the less melodic & meaninglessly bleepy/clicky material. I can't see myself returning to this release any time soon.
For fans of Tim Hecker, Oval & Biosphere.
3/5
Rainbow - "Live in Germany 1976" (1990)
After checking out this excellent double live album, I'm gonna add it to "On Stage" (my personal favourite) & "Rising" as the Rainbow releases I can see myself returning to in the future. "Live in Germany 1976" is a collection of recordings from that tour with the vast majority of them being drastically extended & littered with creative improvisation & jamming. It really works most of the time though & gives you that true live band feeling. Dio's performance is wonderful as usual but I think this might be the only one of Ronnie's releases where I think he's actually been outdone as Ritchie Blackmore's contribution is spectacular here. How about the sweep-picking in 1976 then!? You can easy tell where Yngwie got his inspiration from. Anyway... this should be essential listening for Rainbow-heads & hard rock fans in general.
For fans of Deep Purple, Dio & Scorpions.
4/5
Henry Flynt - "You Are My Everlovin/Celestial Power" (1986)
I couldn't get into this debut album from North Carolina minimalism exponent Flynt when I first encountered it many years ago & have had a very similar experience this week. It contains two lengthy tracks, the first being a pretty decent 43-minute drone piece that I quite enjoy. Unfortunately though, the second piece (i.e. the 45-minute free folk tape music excursion "Celestial Power") is completely random & doesn't make any sort of musical sense & this ruins the overall release for me. This is a playlist record for me as I only place any value on the first half.
For fans of Natural Snow Buildings, Pelt & The Wooden Cupboard.
2.5/5
Reverend Bizarre - Harbinger of Metal EP (2003)
"Harbinger of Metal" was released in 2003 as an EP between the trio's first two albums and in the midst of a spate of split releases with the likes of Minotauri and Orodruin. I say it was released as an EP because it has a runtime of over 73 minutes, more than most full-length albums, but was still steadfastly labelled an EP by the band themselves. I am not sure why this would be because most of the material is consistent with that on the three main full-lengths, but then again Albert Witchfinder tended to do things his own way and for his own reasons so who am I to question the decision.
Anyway, there is some great stuff on here, with Strange Horizons and its awesome doom-laden riff (one of the band's best) being my pick. Of the seven tracks available three are quite short with "Harbinger" being a kind of introductory scene-setter and "The Ambassador" and "Into the Realms of Magickal Entertainment" being little more than interludes, so the bulk of the hour and a quarter is taken up by just four tracks, which is pretty much par for the course with the Reverend. To say that Reverend Bizarre know their shit when it comes to traditional doom metal is an understatement. During the mid-2000's they pretty much wrote the book on producing epic-length trad doom sagas and are still very much the yardstick against which I personally measure any other trad doom act of the last 25 years. The simple fact is that if a band are going to produce tracks that rely so heavily on the lengthy repetition of riffs then those riffs need to be pretty damn good and in this regard Rev Biz have very few equals. It is very hard to think of any other doom metal band that manage to do so much with so little but the sheer ponderous momentum they achieve with Witchfinder's prominently mixed bass boosting the crushing weight of Peter Vicar's riffing is a marvel to behold. That said, if you are of a more impatient mindset then maybe RB aren't the band for you because they really do like to draw things out and sometimes go to extremes on this front, repeating a riff over and over, well past the point of comfort, a charge which could certainly be levelled at the first part of "From the Void", at least until it turns into an Earl of Void drum solo! I am not the biggest fan of drum solos, so the five minutes in the middle of the track here is a bit of a challenge even for me I must admit. Things are certainly redeemed though with "The Wandering Jew" being another classic slab of doom metal goodness with yet another top RB riff. For this track and "Strange Horizons" alone the EP is well worth the entry fee, but throw in Rev Biz's hulking, doom-laden interpretation of Burzum's "Dunkelheit" that adds crushing weight to the icy, frigid melancholy of the original and we have another doom metal winner on our hands.
Reverend Bizarre truly were one of the finest traditional doom metal bands ever with a distinctive and authentic sound (and sometimes a wicked sense of humour) that pushed trad doom to its extremes whilst still remaining exceedingly listenable. Whilst this EP may not be their best release with, admittedly, a couple of weaker moments, which the band may have realised themselves hence the reason why it was separated from the main full-lengths by the EP designation, when it is good it is absolutely top drawer and as such is definitely worth the time of any discerning doom head.
4/5
Regurgitation - "Tales of Necrophilia" (1999)
I first checked out this highly regarded debut album around 17 years ago now but haven't felt the need to return to it until now. This Ohio four-piece certainly know a bit about making brutal death metal but I don't think they've quite achieved the level of technical proficiency to fully pull it off. They've certainly got a filthy sound with some very deep vocals & some disgustingly goresome lyrics. They don't do anything terribly original though & there are better exponents of this craft out there. In saying that, it's easy to tell that Regurgitation have come from a similar musical bandcground to myself as there's an obvious Chris Barnes-era Cannibal Corpse influence in their sound which also bares an uncanny resemblance to my own band Neuropath from earlier in the 1990's. The tracklisting fades a bit towards the end of the short run time but there's nothing that I'd mention as being weak included in this short 29-minute tracklisting. It's a mildly enjoyable listen without ever tempting me to award my higher scores at any point.
For fans of Necrotic Disgorgement, Heinous Killings & Deaden.
3.5/5
Ennui - "Qroba" (2026)
I have been making more of a conscious effort to follow up on some of the tracks from the site playlists that jump out at me each month and that is how I ended up in front of the latest release from Georgian (as in the country not the period of English history) funeral doomsters, Ennui. The word Qroba is a Georgian word meaning “vanishment” or a “fading of presence”, representing the moment light withdraws to leave space for something colder and final. Symbolic of the temporary dissolution of the band themselves, the album explores the inevitability of the end. In short, classic funeral doom fare. With song titles such as ‘Mokvda Mze.’ (which translates to ‘The Sun Has Died’) and ‘Becoming A Void’, Ennui leaves the listener in no doubt that if they are seeking positivity, they are in the wrong place.
The band name itself is the French word for “boredom”, which I find to be particularly ironic given there is no element of that emotional state present throughout my experience of Qroba. I am starting to realise that funeral doom may well be my second favourite sub-genre of The Fallen, pushing sludge for that top spot as time goes on. In fact, I heard this record on the same day as the new EP from Chained to the Bottom of the Ocean, and I prefer Qroba in a comparison of the two releases. Everything I want to hear on a funeral doom album is present on this album. Well, apart from the panduri, a traditional three-stringed Georgian instrument that I have never heard of until today. Otherwise, there are dense keys and suitably desolate atmospheres being created around them, alongside punishing riffs and the deep rumble of bass and guttural vocals too boot. All the while the drums functionally add percussive markers in the background. You could forget they are there at all on some occasions, which is more testimony to the quality of everything that’s going on around them as opposed to any fault with the performance or mix even.
I do get the occasional flourish of hope in the music, which is not something I want to hear too often in my funeral doom. Here, I think it stays just the right side of providing balance, just like the prog-reminiscent guitars around the halfway point of ‘Becoming Void’ also add a touch of the unexpected. The melancholic lead work here, which is delivered via long, drawn-out notes, almost tells its own story outside of the vocals themselves. When you factor in those keys, you soon find yourself in some cosmic death trance. If I close my eyes to this track, I just see endless space, with the odd burst of light, or the odd colour of gases that I am floating through. Listening to Qroba soon becomes a very immersive experience for me.
With over an hour of music to listen to here, I do think that Qroba is a record that has a certain place and time to be properly experienced. This is not background music. For me, if you are not sat still with this record playing, you are doing it, and yourself an injustice. It is a record that demands to be experienced as opposed to simply being listened to. From an arrangement perspective, it sounds to me like this has been very carefully put together. Tracks develop as opposed to just progressing. Given the theme of the album, it is quite easy to see this album as a soundtrack to the slow destruction of life as we know it. When that day comes, I will have this on my headphones.
4.5/5
Dusk - "...Majestic Thou in Ruin" (1995)
It's easy to forget just how good the debut album from this Wisconsin-based doom/death outfit is because no one has tended to talk about it much over the years but this really is one of the great examples of the genre in my opinion. Perhaps it's not the most original of releases as it clearly borrows from the template created by Aussie superstars Disembowelment but does it a little differently with a more decipherable death growl & a lack of grindcore influence. You'll find similar atmospherics here though & I've always found huge appeal in them too, particularly given that I'm one of the biggest Disembowelment fans on the planet. There is a basicness to the riff structures which won't challenge too many guitarists in the technique department but that's not really what this type of music is about now, is it? The first & last of the four lengthy songs included are both very solid but it's the one-two punch of "Paled" (my personal favourite) into "Thy Bitter Woe" that are the real gold here. Don't miss out on this one guys.
For fans of Morgion, Ceremonium & Disembowelment.
4.5/5
Terror - "Still Suffer" (2026)
My introduction to Terror and probably hardcore in general given how much airtime this one has had over thepast fortnight. The vinyl arrived today (a whole week early and coloured vinyl which was not expected) such is my love of this, I had to get a physical copy. I am far too immature in my listening of hardcore to write a review, but needless to say this is a great record.
Slow - "V - Oceans" (2017)
Today's selection from the Vault of the Underappreciated is a slab of funeral doom goodness from Belgium's Slow. Here is my review:
Slow is a funeral doom project of prodigious belgian Déhà, who is perhaps better known for his black metal and blackgaze work, but who is also a proficient doomster with acts like Yhdarl and Wolvennest. He has released seven albums under the Slow banner, with "V-Oceans" unsurprisingly being number five and, probably, my favourite. This is the last of the Slow albums that were produced as a solo project, Déhà since having been joined by lyricist Lore Boeykens who also contributes bass and backing vocals.
Anyone even remotely familiar with Déhà's other projects will be unsurprised to hear a significant post-metal and -gazey element to Slow's funereal dirges, but make no mistake this is still ponderously heavy stuff. The vocals are of the gravel-throated, abyssal demon bellowing kind that are the cornerstone of so many fantastic funeral doom albums and are more than ably delivered here by the main man himself. As he intones at the beginning of "Ténèbres", "This is not meant to bring you joy, this is not meant to give you any solace," and it surely doesn't if you take its message literally yet, ironically, if you are a lover of the melancholy and desperate atmospherics of funeral doom then it may well bring you great joy indeed (it certainly does for me).
With tempos that are measured by a calendar rather than a metronome, the five, 10-minute plus tracks here crawl under your skin and sit there draining your optimism like a vampiric parasite feasting on the mind's positive energy, leaving its host bereft and borne down by the weight of existence. The riffs are monumental chords that swell like tsunamis, given additional heft and gravitas by layered synths and choral effects which thankfully don't swamp the guitar and drums, but which add their weight to the crushing mass subtlely enough so as not to be distracting. "Oceans" covers a theme that has served funeral doom very well over the years with its huge swells of sound being an exceedingly effective artistic interpreter of oceanic environs and deep sea tectonics, here being used as a metaphor for the unalterable inevitability of death, in other words, all the best sentiments of funeral doom.
The number of ratings for Slow albums on RYM is paltry with this being the most-rated with a touch over 300, yet this is funeral doom of the highest order that deserves to be considered up there with giants of the genre like Bell Witch and Esoteric. OK, maybe not Esoteric, but everybody else anyway! Criminally overlooked, for me this is a top drawer entry into the funeral doom pantheon.
4.5/5
Traitors Gate - "Devil Takes the High Road" E.P. (1985)
I decided to give this three-song heavy metal E.P. another go after failing to connect with it on my last revisit but still found it a little lacking in class for my liking. Sonny would probably get more out of these Welshmen than I would but I do quite like "Love After Midnight". I have to admit that it annoys me that "Devil Takes the High Road" is associated with the NWOBHM when it came out a good couple of years too late for that in my opinion.
For fans of Virtue, Borrowed Time & Judas Priest.
3/5
The Future Sound of London - "Lifeforms" (1994)
This double sophomore album from Manchester duo The Future Sound of London has been a really big release for me over the years, particularly during the 2000's when it would regularly guide my best mate & I through all-day comedown sessions after druggy nights on dark nightclub dancefloors. It's a beautifully laid-back mix of IDM, ambient & ambient techno that was heavily influential on the scene at the time, spawning truckloads of copycats who tried to emulate its unique connection with nature & fantasies of a simpler & more tribal world. I know that Rex shares my feeling that "Lifeforms" is one of the most premium examples of its type & it should definitely be essential listening for electronic music afficionados.
For fans of Global Communication, The Orb & The KLF's "Chillout".
4.5/5
Gorrch - "Stillamentum" (2026)
Gorrch are over fifteen years into their existence and are only just getting around to their sophomore album. The duo of Chimsicrin (drums, vocals and keyboards) and Droich (guitars and bass) make for a quite a melodic take on the sound stylised by DSO. They lack the foreboding edge of the DSO sound, forming a more urgent and dashing movement to the music with a frankly excessive use of the tremolo. Nonetheless, the comparison is unavoidable.
Over only six tracks, the repetition of the guitar does get a little tiresome, however. That sounds like a dumb thing to say for a black metal record, given that repetition is a key factor of black metal in general. However, I do feel that the tremolo is simply overused, certainly across the first half of the album at least. For the latter three tracks there does appear to be a little more variation, and the album improves for it.
The drums are perhaps the best part of the whole album for me. Well produced and unobtrusive, yet at the same time they are as varied as they are prominent. I do not get the sense that they are particularly complex in their patterns, yet the skill of the musician is still obvious. The other standout from the second half of Stillamentum is the use of dark choral vocals. Their inclusion gives tracks a ritualistic theme that grabs the attention well.
Eleven years between records is a long time, and I have not heard their debut record to know how marked a difference, or not, there is to what goes on throughout Stillamentum. Both members have roles in other bands I can see which may explain the huge gap in output. I cannot say that Stillamentum suffers in any regard, more that it labours somewhat. If the guitars could match the drums in both variety and positioning in the overall sound, then I would enjoy the album more. However, this is not a bad record by any means, and I will be keeping an ear out for album number three if it ever arrives.
3.5/5
Munly & The Lee Lewis Harlots - "Munly & The Lee Lewis Harlots" (2004)
I didn't mind Denver gothic country artist Jay Munly's 2002 "Jimmy Carter Syndrome" album so I thought I'd also check out his popular self-titled record with the Lee Lewis Harlots & it's also worth a listen, if not being something I can see myself coming back to. If pushed, I'd suggest that I enjoy this one slightly more than "Jimmy Carter Syndrome" but it is pretty long at an hour & seventeen minutes.
For fans of Slim Cessna's Auto Club, Wovenhand & 16 Horsepower.
3.5/5
Amon Amarth - "With Oden on Our Side" (2006)
After quite enjoying my recent revisit of these Swedish melodic death metallers popular 2008 seventh full-length "Twilight of the Thunder God" recently, I thought I'd better give my other Amon Amarth record of preference a few listens so as to see which one I favour these days & the result has ended up being very close with 2006's "With Oden on Our Side" just tipping out it's more well known counterpart by a slim margin. It's very clear that the band have made a conscious attempt to keep the song structures simple & uncluttered in the interest of accessibility here but, when they get the chorus hooks right, it works really well with the three-track run that includes the title track, "Cry of the Black Birds" (my personal favourite) & "Under the Northern Star" being particularly solid. Johan Hegg's vocals are quite powerful yet remain intelligible throughout while the pounding kick-drums of Fredrik Andersson drive Amon Amarth forward into battle. This is one of the better melodic deah metal records around in my opinion.
For fans of Dethklok, King of Asgard & Unleashed.
3.5/5
Here's my adjusted Top Ten Melodic Death Metal Releases of All Time list:
01. At The Gates – “Slaughter Of The Soul” (1995)
02. Stortregn - "Finitude" (2023)
03. Carcass – “Heartwork” (1993)
04. Sentenced – “North From Here” (1993)
05. In Mourning – “The Weight Of Oceans” (2012)
06. The Breathing Process - “Odyssey (un)Dead” (2010)
07. Unanimated - "In the Forest of the Dreaming Dead" (1993)
08. Amorphis - "The Karelian Isthmus" (1992)
09. Amorphis - "Tales From The Thousand Lakes" (1994)
10. Amon Amarth - "With Oden on Our Side" (2006)
https://metal.academy/lists/single/147
Zbigniew Preisner - "Trois couleurs: Rouge" (1994)
The wonderful final part of the three-film "Trois couleurs" soundtrack collection is now my slight favourite of the four Krzysztof Kieślowski-directed film scores I'm familiar with, just shading the magnificent "La double vie de Véronique" (which has traditionally been my pick) after this week's revisit. The subtleties of this next-level classical workout are simply genius with the main theme receiving all manner of variation but never failing to place me into a blissfully melancholic state.
For fans of Wojciech Kilar, Michael Nyman & Gabriel Yared.
4.5/5