Opus Dementiae
[Cruz Del Sur Music]

Did you ever wonder what would happen if Trent Reznor, Cradle of Filth, Mortiis, and The Kovenant all got together, recruited a flute player and decided to record 10 of the most eclectic and bizarre audio tracks in music’s history? Me neither. Ensoph are the Mr. Bungle of the industrial/metal world folks, feel free to start worshipping. If musical experimentation and pushing the limits of what can be defined as music is your thing, you simply MUST purchase ‘Opus Dementiae’. Since there is no way to possibly describe the music as a whole, this review will focus on each individual piece of the band, and how it adds to the overall picture.

Vocals range from a black metal screech to a clean gothic drone. Nicholas’ voices are also occasionally in what can only be described as an ‘insane style’ reminiscent of Mr. Doctor of Devil Doll. Also present on the album are occasional female vocals. Although these are usually low in the mix, they too add another layer of influence on the insanity that is Ensoph.

Keyboards and programming are the elements that most often drive the songs forward. Never returning to a central theme, always flowing on, at one moment atmospheric, the next fast and technical, the range of ability is staggering. The programming often covers a number of drum sounds, and compliments the actual drumming nicely. Moving from an ambient, industrial sweep to full-blown classical piano, you’ll never know what to expect next.

Another highlight of this album is the bass playing. Often coming out high in the mix for a quick technical run, the bass is far more prominent in the mix than the guitars. Yes, if you’re looking for a guitar album, you’ll have to look elsewhere, as when compared to the obvious skill of the other musicians in Ensoph, the guitarist simply doesn’t cut it. He carries his weight though, by doing the majority of the programming for the band. If the band survives another few years, we may truly see the second coming of Trent Reznor.

It would be a crime to close out this review without mentioning Ensoph’s full time flutist Anna. Adding a tribal feel to the album, the flute playing is surprisingly high in the mix. I’ve always felt that wind instruments add a very ‘human’ feel to albums, and here in it’s place it adds a small stroke of humanity to an otherwise otherworldly album.