VOID

"Wither" solemn, dark reverberating orchestration on electric guitar, for a soundscape bringing "Waves of Time" GATHERING sound for this strident guitar; a melancholic prog metal tune that drips with post-rock; a progressive space, latency of sound leaving on the storm, swirling and invasive, oozing the lamentation of the last ANATHEMA. "Burning" more sedate, metronomic; a wave of swelling notes, amplified by the buzzing drums over the barren landscape left by the flames; sinister decadent post rock. "Falling Apart" with acoustics and a phrased vocal, a synth forcing the melancholic air, collapse of notes with the arrival of the nostalgic, devastating electric solo. "This Red Sky" with a dramatic, solemn intro; the drums set the tempo before the electric guitar rips off the extended scores; heavy, evil air of the death that raged, blood remaining the only proof; only a prolonged 'ah' will disrupt this mantra from beyond the grave with its heavy post-apocalyptic crescendo, the finale veering into dark doom where one could imagine a growl voice.

"Oblivion" its bubbling sound, voice reminiscent of SIGUR ROS, the guitar on a dark, monolithic HABITANTS; viscous feeling of not being able to get better despite the struggle of wanting to get out of it. The sound of yesteryear shows the proven morbid aspect which seems inevitable, on a progressive dark wave. "Small Ideas" continues, same line with added depressive choruses; the guitars are more unstructured, giving a pale reflection and the melancholy leans towards the tunes of TENHI and KAUAN; the finale returns to conventional and reverberating post rock with saturated guitar, making it addictive in a final decadent grindcore. "Farm of Lights" changes climate with a cathedral air; his soaring, latent, alarming end-of-the-world vocalizations of Thomas recalling the sung title of Klaus SCHULZE; ethereal atmosphere on the early FLOYD, finally eyeing those of the first COMA ROSSI. Dreamlike and majestic, the best. "In Circles" archaic and crystalline piano, heavy electric guitar, everything is in place to conclude this lugubrious journey with this lunar crescendo where the drums print the deadly La to come out healing; a little voice sprinkled in and the musical clarity is imprinted in your head.

COMA ROSSI had to recover to go from 5 to 2 members; like a funeral testament, the sound leaves the listener stunned, haggard. Originally on Profilprog.

Second album for Coma Rossi . The group has undergone many changes since its first recording attempt in 2018. Originally from Bangalore in India and then made up of four members, it has today become a duo shared between Germany and England, the link being provided by Gaurav Govilkar who plays almost all the instruments, with the exception of the drums. More than Prog, I would say that the album 'Void' is positioned on the Post Rock side, the overall sound of Coma Rossi having taken a heavier, darker turn. Moreover, the theme of the disc fits perfectly with this sound: "Coma Rossi attempts to achieve a contemplative silence and a familiar melancholy enveloped by atmospheric and saturated guitars, introspective texts and explosive drum sounds, as during the preparation for a storm at sea."

"Wither" is an instrumental intro based on distorted guitar arpeggios and keyboard layers. This gives way to the thick heaviness of "Waves of Time" which contains many cleverly interwoven guitar parts. I remain a little less convinced by the vocal performance which seems a bit fragile to me in the face of this wall of sound. We will also note the revival work of Diane Galen on drums who manages to maintain momentum throughout the track.

It's a bit of the same mood that inhabits "Burning", on which I found a hint of The Smashing Pumpkins . The song is based again on stacks of layers of guitars, and a very minimalist approach to singing, 80% of the track being instrumental.

A peaceful atmosphere finally arrives thanks to the acoustic guitar of "Falling Apart" and its strange chords. An electric guitar then appears, then discreet layers of keyboards, before giving way to an explosion of sound which accompanies the end of the piece. A great success.

Tribute to the group Mars Red Sky ? Not sure? although the title "This Red Sky" may have some similarities. Long instrumental development (or almost) filled with angry guitars and drums with a heavy groove, it will delight fans of Stoner and Post Rock. "Oblivion", more immediate in approach despite its odd rhythm, was selected as a single, and once again offers a very thick sound even if it sometimes means drowning out the main vocals.

The verses of "Small Ideas" are intended to be more airy and luminous, in particular thanks to the contribution of the double vocals, but the roaring guitars are not to be outdone as are the numerous rhythmic changes of the drums to make it one of the peaks of the album.

Very Ambient oriented and certainly the most Prog piece of the disc, the quasi-instrumental "Farm of Lights" evokes Pink Floyd for a soaring journey to the sound of Thomas Huy 's voice .

The closing track "In Circles" evolves in a melancholy atmosphere by taking up the musical elements of the rest of the record, to make it a piece of fragile heaviness.

Focused on the theme of loss and lack, 'Void' leans towards the dark side of feelings. This undoubtedly explains the difference in style with the group's first album. Although they have become a duo, the writing of all the titles is the work of Gaurav Govilkar who has recorded on record the fruit of a palpable sadness.

Review originally posted on www.progcritique.com.