When you're friends with a band you want them to succeed, I've known the members of Ofnus for a few years now and heard both their debut and their second album evolve from demos on a phone to full formed albums.
Now of course I have to approach everything with journalistic non bias but luckily for me Ofnus play the form of black metal I appreciate most. The type that owes much to Hans Zimmer as it does to Emperor.
Their debut Time Held Me Grey And Dying wasn't hastily put together but it was the sound of a band establishing themselves, separating their style from the other bands they were involved in, Ofnus are a bit of a South Wales supergroup, and giving them a setlist to play live.
However just as this album was released, they had already started on the follow up, it had to be bolder, bigger, more dense in its scope to truly secure their place as not just another band playing atmospheric black metal from an often overlooked and undervalued local scene but as real contenders in the extreme metal scene of the UK and beyond.
Having played high profile shows including Bloodstock, a feat they will repeat again this year on a bigger stage, Ofnus are now a well-oiled machine, rehearsed to a sharpest of points with a laser focus on devastating every stage they come across.
However just as this album was released, they had already started on the follow up, it had to be bolder, bigger, more dense in its scope to truly secure their place as not just another band playing atmospheric black metal from an often overlooked and undervalued local scene but as real contenders in the extreme metal scene of the UK and beyond.
Having played high profile shows including Bloodstock, a feat they will repeat again this year on a bigger stage, Ofnus are now a well-oiled machine, rehearsed to a sharpest of points with a laser focus on devastating every stage they come across.
Of course the only way to do this is with material that challenges you as a band and with Valediction their second album they seem as if they have a bona-fide masochistic streak, composing music that would be better suited accompanied by a full orchestra than on the small stages of the UK.
As you may have seen or heard about Valediction is a concept album about the grief cycle, Denial, Anger, Bargaining, Depression & Acceptance, from the initial traumatic event itself, each subsequent song represents one of these stages as Alazia the final track offers an alternative of someone who rejects acceptance and solace opting for all consuming darkness instead.
These complex emotional stars are brought to life by the vivid mix and mastering of William Philpot and Abraham Fihema, capturing the minutiae of these incredible performances. Be it the multi layered string arrangements, the the unrelenting rhythmic blasts, the fluid melodious lead guitars and the scarred, baneful vocals. Valediction is a huge sonic step up from their debut.
From the opening salvo of The Shattering, you're drawn into the world they have created, this first single explored the initial traumatic event, confusion reigns, words are left unsaid and these emotions are driven by the atmospheric black metal sound Ofnus has honed through these live shows and the countless hours spent writing and working through these songs.
Ethan's stellar drumming builds the world from the ground up it's his and vocalist William's lyrics that are the narrative to this record, but there's a primal finesse to Ethan's drumming that is brutal and beautiful. The bulk of the rhythms revolve around him bassist Richard who plays bass as if it's a third guitar, locking down the frenzied ever changing tremolo rhythms from rhythm guitarist Alyn and lead guitarist James.
Alyn, Rich and Ethan from an unstoppable triumvirate, forging the blistering black metal blasts, allowing for space when James explores more atmospheric realms with some clean majestic guitar, much more of it, the time put into this record allowing for more musical expression. All present on correct opener The Shattering, a speeding collision with extremity, it’s the brutal opener to this record.
As you may have seen or heard about Valediction is a concept album about the grief cycle, Denial, Anger, Bargaining, Depression & Acceptance, from the initial traumatic event itself, each subsequent song represents one of these stages as Alazia the final track offers an alternative of someone who rejects acceptance and solace opting for all consuming darkness instead.
These complex emotional stars are brought to life by the vivid mix and mastering of William Philpot and Abraham Fihema, capturing the minutiae of these incredible performances. Be it the multi layered string arrangements, the the unrelenting rhythmic blasts, the fluid melodious lead guitars and the scarred, baneful vocals. Valediction is a huge sonic step up from their debut.
From the opening salvo of The Shattering, you're drawn into the world they have created, this first single explored the initial traumatic event, confusion reigns, words are left unsaid and these emotions are driven by the atmospheric black metal sound Ofnus has honed through these live shows and the countless hours spent writing and working through these songs.
Ethan's stellar drumming builds the world from the ground up it's his and vocalist William's lyrics that are the narrative to this record, but there's a primal finesse to Ethan's drumming that is brutal and beautiful. The bulk of the rhythms revolve around him bassist Richard who plays bass as if it's a third guitar, locking down the frenzied ever changing tremolo rhythms from rhythm guitarist Alyn and lead guitarist James.
Alyn, Rich and Ethan from an unstoppable triumvirate, forging the blistering black metal blasts, allowing for space when James explores more atmospheric realms with some clean majestic guitar, much more of it, the time put into this record allowing for more musical expression. All present on correct opener The Shattering, a speeding collision with extremity, it’s the brutal opener to this record.
Setting the tone with the unfortunate event that leads to all the turmoil that follows. Trem picking and gutsy low riffing combine as we build into fabulous dissonance, Will’s vocals more honed and vibrant than on the debut, the black metal squawks joined by guttural growls and the rueful cleans towards the end when the strings swell again.
Reflections Of Delusion begins on a mournful note of piano, haunting synths bristle in the background as it slowly burns, the denial can be felt in an instant, before the kick drums lock in for more viciousness. Reflections Of Delusion has shifting rhythms, more progressive like an Ihsahn track.
Reflections Of Delusion begins on a mournful note of piano, haunting synths bristle in the background as it slowly burns, the denial can be felt in an instant, before the kick drums lock in for more viciousness. Reflections Of Delusion has shifting rhythms, more progressive like an Ihsahn track.
A cinematic piece that embodies blackened doomscapes, switching between slow and fast pace with ease, Ethan’s drumming manipulating the pace, leading to another classic metal styled solo form James that builds up again into agonising cacophony of harshness, Will snarling as Ofnus become unleashed again, the piano trailing them into anger.
Yes anger, more accurately the Throes Of Agony, the second single (check out the videoclip but be aware it’s got trigger warning for a reason). This one is ferocious, true steamrolling black metal that doesn’t relent, Alyn and James shredding like all hell as Rich gets a few groovy underpins, the production allowing you to pick these out, unlike on many black metal releases.
Yes anger, more accurately the Throes Of Agony, the second single (check out the videoclip but be aware it’s got trigger warning for a reason). This one is ferocious, true steamrolling black metal that doesn’t relent, Alyn and James shredding like all hell as Rich gets a few groovy underpins, the production allowing you to pick these out, unlike on many black metal releases.
Throes Of Agony is Ofnus let off the leash, audio battery, frothing with rage and bile, counterpointing screams with growls, the orchestral swells are just as insistent as the riffs. As we move through the grief cycle the anger is fleeting, an attack of pure rage that descends into Bargaining.
Proteus correctly is filled with despair, the futility of trying to find some meaning in what happen, the harmonic highs of reaching out to the light set against the despairing lows of being faced with reality. It’s a track etched with pain as Ofnus create a dynamic mini-epic that unveils itself over 9 minutes.
Proteus correctly is filled with despair, the futility of trying to find some meaning in what happen, the harmonic highs of reaching out to the light set against the despairing lows of being faced with reality. It’s a track etched with pain as Ofnus create a dynamic mini-epic that unveils itself over 9 minutes.
This is the band Ofnus are today, skilled in letting the music they play breathe, the euphoric highs, the tragic lows, it’s all encompassed in a track such as Proteus but we’ve only reached half way. As Zenith Dolour, descends into the depths of depression, the lifeforce of our unnamed protagonist pouring away with each moment, the obtuse tech death opposition of the main riff is yet more experimental in the black metal realms from Ofnus.
A solitary violin beckons more dread and fear, as the hopelessness and unmitigated sadness consumes all, the closing moments of this song simply one of the best I’ve heard the way all of the instrumentation comes back together with such ferocity is staggering, strings against blastbeats, riffs played as if the hatred felt comes from the instruments they have in their hands, it’s thrilling, hairs on the neck raising and needs to be heard.
I came late to black metal but knowing some of the members of Ofnus has gained me an appreciation and love of the genre when it’s done this. Doused in melancholy and atmosphere, progressive but instantly listenable.
A solitary violin beckons more dread and fear, as the hopelessness and unmitigated sadness consumes all, the closing moments of this song simply one of the best I’ve heard the way all of the instrumentation comes back together with such ferocity is staggering, strings against blastbeats, riffs played as if the hatred felt comes from the instruments they have in their hands, it’s thrilling, hairs on the neck raising and needs to be heard.
I came late to black metal but knowing some of the members of Ofnus has gained me an appreciation and love of the genre when it’s done this. Doused in melancholy and atmosphere, progressive but instantly listenable.
Complicated but not to confuse or alienate but to convey the complex emotional states they have written about. The title track completes the cycle, it’s almost joyous, the darkness receding into light, into acceptance, positivity emerging from the blanket of darkness that has smothered us.
The clean guitars are so prominent here, used to reclaim your mind from the edge of complete despondency, there’s passages of this album that owe a lot to Opeth in their pitched melodies. If it was to end here, then solace would be found, the cycle is over and life has to find a way to carry on with acceptance but the pain still lingering.
But what if that pain is too much? What if the anger never subsides? Well as I said Alazia explores with outright savagery and despondency, awakening wrath to close Valediction.
Ofnus play Cardiff in May, performing Valediction in full, they play Bloodstock festival for a second time in August, and they have released for me one of the best records so far this year. Be prepared! 10/10
Ofnus play Cardiff in May, performing Valediction in full, they play Bloodstock festival for a second time in August, and they have released for me one of the best records so far this year. Be prepared! 10/10
Band Photo: Konstantina Frasia Photography Cardiff
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