Track Listing:
01. In the Name of Freedom
02. Condemned (In the Penal Colony)
03. Kirillow’s Bullet (Aleksjej Nilyc: ARussian Trilogy Pt. 1)
04. D-Generation
05. Icons In the Dust
06. Un Petalo De Pieta’
07. Getsemani
08. The Source Becomes Desert
09. Holy Bleeds (Rodian Romanyc: ARussian Trilogy Pt. 2)
10. Pain, Pride & Regret
11. Leaving No Trace Behind (Ivan Karamazov: ARussian Trilogy Pt. 3)
12. In the Name of Freedom (Reprise)
13. Condemned (Radio Edit)
14. Icons In the Dust (Radio Edit)
15. Leaving No Trace Behind (Radio Edit)

Rated:
8/10

Total Play Time:
65:21

Band's Webpage

How does one describe Ensoph? Death metal? Black metal? Industrial? Classical? Electronic? Goth? All of the above?

Anyway, when I first listened to this album, I was rather disappointed. Very, very disappointed, in fact. It had just been a little less than two years ago that I had first heard Ensoph’s “Opus Dementiae” album and been completely blown away by it. So what happened?

Well, I went back and gave “Project X-Katon” another listen and I quickly realized exactly what had happened. It wasn’t the music that made me disappointed, it was my attitude towards it. I had been expecting to be completely blown away yet again. I was expecting a whole new level of insane genius. In other words, I had set an unrealistic expectation for the album.

In all actuality, I think that “Project X-Katon” is an improvement over it’s predecessor in many ways. True, they have reduced the use of the flute on this album and the high pitched, whining “goth” vocals are used a bit too often, but the whole album has a much more cohesive flow than “Opus Dementiae” did. That album felt more experimental than “Project” and it was as if they were trying to find their direction. Well, they now have found it.

“Project X-Katon” has a heavier Industrial/Electronic influence to it, even incorporating the occasional techno beat here and there and use some nice, quirky touches to the keyboard’s on “Kirillow’s Bullet.” The overall feel of the album is also a bit slower, not to mention heavier. There’s also continued classical instrumentation on this album with the aforementioned flute, as well as piano and even a bit of Middle Eastern touches, which comes off very well.

The vocals have changed a bit on this album as well. I’ve already stated that I don’t really care for the direction the “goth” vocals have gone in, but on the other hand, the clear vocals have noticeably improved. They have a stronger, more commanding feel to them than they did on “Opus.” Female vocals also pop up on the album here and there, which is a nice touch.

In the end, this album should be a pleasant surprise for those who have never heard Ensoph before. For those who have, please give it a few listens before making your final judgment. You may find yourself in my position, where your expectations are too unrealitic.