Analysis | EMPTY Raises the Affliction on Omnia Amet Lorem

            If there was ever a cause to abandon all faith in humanity, our recent plague certainly delivered in spades, and those already tending toward this outlook were easily reinforced by its effects. As body counts rose along with the despicable side of human nature, Spain attempted to restore hope in society through the words “Omnia Amet Lorem,” meaning “Everything is going to be alright.” The impact likely amounted to nothing, and now that country’s embodiment of nothingness has warped this motto as the title for their latest funerary rite, which shows EMPTY channeling an endless grief into its acts. The atmosphere proves relentless on Omnia Amet Lorem, with negativity taken to compelling levels throughout its dense and detailed arrangements, and EMPTY demonstrates nothing is left to mourn but a limit to the dark appeal.

            A prelude to tragedy is cast on “The Self Dissolves into Demise,” with piano lines reflecting a faded splendor before “Inclination Towards Decay” sets in, and the burden escalates when chilling notes appear in the riff of its grooved descent. This leads to dismal tremolo regions, where vocals match the hostile and tormented developments of other instrumental infusions, and these are effectively punctuated with a heightened tremolo and chord harmonization. Distinct rhythmic forms are often observed during such encounters, and their impact is particularly noted on “The Bleakness of Elderness,” after a ghastly aura is evoked in the waves resonating from organ keys. That substance is paralleled by a harsh riffing trance, which proceeds with a marked ebb and flow alongside grooving percussive designs, and this captivating arrangement crosses over to the bleakness of different clean-stringed passages. Their effects merge with heavy and arpeggiated layers for a multifarious approach to oppression, and soloing arises in its midst with a grandiose display of melancholy. Similar events transpire on “Hungry for Emptiness,” and they capture a notable contrast between calm desolation and utter raging contempt. Leadwork respective to each variety enhances their influence, and both culminate through a concurrent ascending course of despair with blasting wrath.

            An arpeggiated and ominous mass takes hold on “The Vision That Ruined a Man,” and its malignant allure drifts into a stride enhanced by heightened melodic sorrow. Sepulchral whispers also guide this rhythmic flow, and vocal dynamics continue augmenting various orchestrated tones throughout, including a visceral and anguished frustration that builds while riffage bears down with suffocating dissonance. Tremolo melodies are integrated to capitalize on the devastation, and droning sung techniques offer another mournful complement that later evolves alongside a distant haunting solo. The relative tranquility here accentuates a resurging fury, with the projections from vicious rasps only compounding its severity, and “Decease of Internal Light” perpetuates that force through ongoing forms of riff dejection. A dreary interlude with piano keys initiates their affliction, and the misery becomes palpable as tremolo accents rise among its impenetrable depths. They break into other areas of rhythmic emphasis, which effectively coincide with pronounced melancholic shades, and those fretted intricacies develop into soloing with harmonic points that merge gloom with euphoria. The title track defines an ultimate dirge, where brooding entities shapeshift across its successive passages, and a certain vitality is exhibited in that compositional flux. Leadwork also contributes to its exaltation, along with a moment of striking and sinister riff swing, and other nuances are discerned amid a swelling tremolo aura until the last utterance of lament.

            Variants of negativity are further concentrated among the verses, and they promptly forward a dismal outlook on “Inclination Towards Decay,” with an “Inevitable destiny” detailed in “A constant loss of vitality” and “The loneliness of Man.” The “Endless anguish” here is compounded by a “Permanent insatisfaction with life” on “The Bleakness of Elderness,” and futility manifests when describing one who is “Doomed to fail” regardless of his efforts. Cycles of death and rebirth are suggested through “That eternal loop that is,” which then becomes “An ongoing tragedy” that only “Hungry for Emptiness” can remedy. Its lines are structured to express a wonder toward the “Horrendous impulse” for an ultimate end, and the dual experience of “Happiness in sadness” is also observed, along with other perceptions inspiring “A heroism in the face of final emptiness” and the embrace of that infinity.

            Menacing scenes are explored on “The Vision That Ruined a Man,” and their details are effectively recounted from an observer left “Ruined in body and soul.” The “Black and grim” elements are “Deep as an abyss,” and they reflect “Vestiges of decadent past glories” as “An undefined terror floats around like a fog.” There seems to be a brief desire for renewed life and “Its ascension and irradiation towards the triumph of being” on “Decease of Internal Light,” but this is overshadowed by “Despairs, obsessions, and mental tortures,” along with a pronounced destructive tendency in “Begging for the annihilation of all existence.” A resigned spirit appears “Tired of searching for immortality” on “Omnia Amet Lorem,” and its indifference toward other societal influences is notable while being proclaimed “A son of elderliness.” This return of an earlier quality leads to final portents alluded through “The slow crackle of the pendulum has ashes in its throat,” which is poetically matched and sealed with a reminder that “The embalmed body does not laugh in the shadow of its tomb.” Varied and persistent torments are revealed within this substance, and a lingering sense of other points left uncovered extends a mysterious edge to its mass.

            Optimistic pursuits are completely undermined on Omnia Amet Lorem, with an interpretation from EMPTY that also fills the bleakest metal void, and this is achieved through the legions of negative spirits gathered across its planes. Grim prospects are expounded by these arrangements, where abyssal depths become endless among the malign riffing, and the allure of certain passages is highlighted when merged with striking rhythmic maneuvers. The desolation of cleaner areas provides a favorable contrast to the oppressive magnitude, and melodic currents are effectively weaved, along with leadwork and a compelling vocal delivery, to reinforce the despair of each variation. This offering is laden with depressive elevations that will likewise keep EMPTY enthroned high above the ruins.

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