Post-metal trio Black Aleph have crafted an album that is less a mere collection of tracks and more a deeply immersive experience. On Apsides, the Sydney/Melbourne-based group—comprised of Lachlan Dale (guitar/effects), Peter Hollo (cello/effects), and Timothy Johannessen (percussion)—tap into a sound that’s rooted in post-metal but stretches far beyond, incorporating elements of Middle Eastern modal music and doom-like soundscapes to evoke something altogether tectonic in nature. Indeed, there’s a sense of vast, celestial forces at play here, the sort that threaten to upend worlds with every note.
The opening track, Descent, immediately sets the tone. Borrowing its atmosphere from the darkest recesses of Black Sabbath‘s playbook, it captures the sensation of tumbling headlong into an abyss. It’s unnerving, yet it compels you forward, like a moth to a flame. The track’s thick, rumbling riffage and the brooding tension of its instrumental passages make for a haunting introduction to Black Aleph’s sonic world.
Ambit I (Ascension) follows, a sparse interlude that seems to hover just beyond reach. It’s fleeting but effective, leaving a lingering question mark in the air as it dissolves almost as quickly as it appears, challenging the listener to remain present for its brief but tantalising presence. This then paves the way for Ambit II (Aphelion), a multi-layered journey that blends Eastern vocal stylings with cinematic guitar work and spartan percussion. The slow, deliberate build of the track creates a tangible sense of unease, especially as Dale’s guitar threatens to split the song open with raw intensity. It’s a masterclass in restraint, only pulling back when the tension is almost unbearable.
The dynamic shift continues with Separation, where the trio balance between sound and silence, letting ideas emerge organically before retreating into the ether. There’s a seductive ebb and flow here, as if the music itself is contemplating the weight of existence. The track never quite resolves in the way you’d expect, leaving an open-ended question, much like life itself.
Precession is one of the album’s most immediate tracks, built around a simple, almost martial rhythm. The weight of the song is palpable, with oppressive tones that press down on the listener, yet it provides no real release. Instead, Black Aleph invites you deeper into the chasm, the path ahead uncertain, but utterly alluring.
Return serves as a welcome respite—initially. The track’s minimalistic opening offers space for reflection after the preceding sonic onslaught, but it doesn’t take long for that comfort to be stripped away. A plaintive guitar line cuts through the stillness, reminding you that chaos is never far off. The trio control the ebb of power expertly here, pulling back just enough to create space without sacrificing any of the force they’ve been building up to.
Finally, Occultation brings us back to the surface, though not without a final act of violence. The song’s crushing mid-section is a brutal reminder of the power at Black Aleph’s disposal, but it also provides a sense of closure. You’re left to reflect on the journey, but the experience of Apsides lingers, like the aftershock of a seismic event.
Apsides is a staggering debut, equal parts meditative and devastating. With its combination of intricately layered soundscapes, relentless intensity, and a thematic focus on the interplay of light, dark, and celestial mechanics, Black Aleph have positioned themselves as an exciting new force in experimental music. This is not an album that demands your attention—it seizes it and doesn’t let go.
Apsides releases on October 25th.
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