I picked Onirophagus‘ third album, Revelations From The Void, from the pile on the back of the promo notes mentioning 90s doom-death. In hindsight, I should have paid more attention to the album cover. Paolo Girardi has represented the void’s revelations as being all eyes, tendrils, and what I believe is referred to in these parts as “patented space-bunghole”. It hints at a band going for a big, disturbing sound more than what is commonly remembered from the 90s doom-death scene.
Of course, it’s a lot easier to make that connection after listening a few times.
Revelations From The Void takes that doom-death sound and adds an almost sludgy weight to it, particularly when Paingrinder really lets rip with his deep gutturals. There are some moments that remind me very much of Inter Arma. There are also moments like the intro of “Stargazing Into The Void” where Onirophagus‘ love of an elegiac melody and sporadic use of violins remind me of My Dying Bride. It’s an interesting pair of sounds to flow between then and at their best, as in “The Tome”, Revelations From The Void is a crushingly good time. The problem is when Onirophagus aren’t at their best, they fall into the common trap of lengthy, atmosphere-seeking songs – too many riffs where not enough happens. Take opening song “Hollow Valley”. It starts strong but frequently I forget its playing until four minutes in, a somber melody kicks in. This problem occurs in every song.
Revelations From The Void is ultimately a frustrating listen. There are so many enjoyable moments but the whole is less than the sum of its parts. I salute Onirophagus‘ vision of death-doom that is cavernously heavy on the death but these caverns have too much empty space. Much as I wish otherwise, this experience was too much void and not enough revelation.
