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'The Promise Of Oblivion'
(Self Release)

jools green

Jools Green


The concept of Deadspace was originally conceived in 2014 by Chris Gebauer (Earth Rot/Sensory Amusia) as an outlet for his continuous feelings of depression and after a split release with Drew James Griffiths' ambient/experimental/alternative project, Onomy, the line-up has now expanded for this debut full length with musicians drawn from Perth, Australia's underground Metal scene.

The line-up consists of; Drew James Griffiths (Watercolour Ghosts, Ur Draugr, whose album, 'The Wretched Ascetic', was reviewed here in February at here) on guitars/backing vocals, Nish Raghavan (Xenobiotic) and Alex Borserini (Sensory Amusia, I Am Eternal) on guitars and Ben Stanley (Sanzu, Malignant Monster) on drums.

'The Promise Of Oblivion' is an eight track offering spanning thirty five minutes of disturbingly good, depressive yet ambient, black Metal that encompasses elements of black Metal, death rock, Goth and ambient music. Atmosphere and mood wise, it's dark and disturbing but not gloomy as you would expect and certainly encourages you to look inward and consider your own notions and feelings.

Lyrically it does find inspiration from the darker aspects of life like depression and suicide and the result is very organic, undoubtedly cathartic for the creator and a highly engaging musical experience for the listener with similarities to Shining, Lifelover and Forgotten Tomb.

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The opening notes are sinister yet optimistic, along with a slightly bleak edge to the melody, as it is also on the more pummelling rhythms of 'With Tears Of Callous Lust' which has a hint of The Shining about it and a superb haunting guitar solo to close, but what really gets to you and pierces you right in the heart is the superbly broad ranging, tortuous and heavily emotive vocalisations which ooze pain and agony from Chris Gebauer.

'I'll Buy The Rope' is more intense and dark and some of the vocals have a decidedly sinister blackened edge in places.

In huge contrast the hugely atmospheric 'The Clouds Won't Shade The Pain' is haunting and reflective, building slowly and desperately in intensity over the six minute duration, with the final minute, a haunting drop-away.

Shortest track at under two minutes, and in many ways the darkest of all the tracks, is 'Oblivion' with its haunting reflective backdrop of simple keyboards and subtle percussion. It has spoken lyrics, one voice addressing another unheard, an understatedly harrowing offering, ending on a single gunshot.


'Schadenfreude' opens on a deranged blackened shriek, a fascinating track, a contrasting mix of deranged vocals against gentle reflective guitar work and precise drum patterns, both which have a progressive edge, with a pace that picks up and intensifies as the track progresses. I found myself very drawn to this, a cleverly understated and powerful offering, my favourite of the album.

'Pain's Grey' has a slower more doom laden pace with a deeper rasping edge to the vocals, descending into a blackened growl and becoming very gut wrenching and guttural in places. Chris Gebauer continues to amaze and surprise me with his vocal capabilities with each subsequent track.

The final track, 'In The Coldness Of The Darkest Night', has a strong nod to The Shining in the riff department, this track having that morose plod to its construct so well used in the Swede's material, but vocally this track is one hundred percent Chris Gebauer, completed by a rather good, bleak, almost bluesy, midpoint guitar solo and ending on piano fade out.

'The Promise Of Oblivion' is a disturbingly addictive and moving listen. It's the most powerful album I have listened to in some time and the more I listen the more I love it. I can't help admire how dark negativity has been turned into something so inspiringly positive and I really recommend checking it out... if you dare.

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