HistoryMelodic and atmospheric underground band In Tenebriz was founded as, and remained, a solo act in 2005. The man has been industrious and pushing out records with abandon. Early demo was Everfrost Symphony of 2006. Fields Of Grey was the follow in 2008. The band appeared on a compilation called Autumn Dreams courtesy of Snail Productions and was also heard on a split release with Kpax. The bands covered each other here as well.
Age Of Superstition was released digitally by something called Culture Production. The act issued its own single, called Hidden Fury, in 2012. Winged was a 2018 demo.
The seasons are a recurring theme with In Tenebriz. Many tracks are instrumental.
IN TENEBRIZ – BITTER WINE OF SUMMER – GRIMMDISTRIBUTION
We shall get to the solo act’s music in a moment, but first one should acknowledge how In Tenebriz is a solo act which has had something like 30 releases in 15 years. It is amazing, and a tribute to the founder and sole member Wolfir, that there is so much industriousness and productivity. The subsequent question, however, is how the quality of the material is then?
The quality is good. The melodies are pleasing to the ear, the growls are convincing and the sound quality is quite clear. Still, you have noticed the 30 mark and wondering what is wrong then.
This wine is hard to swallow and a leaves a bitter aftertaste. Even the attractive flower woman on the cover yields to death by the album’s end. See the back cover. Why? This album is described as black metal and the only thing that the description leaves one with is the question, ‘what is wrong with people?’ Are they silly? Are they deaf? Are they both silly and deaf? Or perhaps the ‘metal’ scene is riddled with so many ignorant bird-brains that they just parrot some inane stupidity with nary a clue. I came across an independent Japanese girl band playing a song off their demo on YouTube recently. The music was soft, cuddly, sweet and barely hard rock. The pretty girls were thin, attractive, feminine, clean with no trashy tattoos and had legs and hair to die for. The prancing around was somewhat cute and somewhat funny. Loved the blue skirts. Scrolling down, though the comments were something else. “badass!” one said and “Japan is a metal factory,” opined another. This band and its song were as badass as your local Conservative politician is a progressive humanist thinking day and night about his fellow man. It was night to day. Ice to fire! Melania Trump to good looks! Pretty? You got it. Cute? Yes. Cool? Maybe. Badass or metal? You are a snaggletooth retard from West Virginia!
Back to In Tenebriz. There is no Satanic or evil line in the titles or lyrics. In fact, it is barely metal. The music clearly deviates into metal territory, but is more often a relaxing cross between post rock and new age music. The soft passages could often be mistaken for something one would hear while relaxing in a Jacuzzi at a spa. So, who are these people and their opinions? Someone should inform me should I be mistaken that the ‘black metal’ is hiding somewhere in plain view on this album. In return, I will show you how ‘metal’ and ‘badass’ the girls with the pop music were.
Much of this act’s, and this album’s, output is instrumental, but songs like The title track, Into Crimson Oblivion, Heart In The Pattern Of Roots and The Birth Of August, which have vocals become extreme courtesy of the harsh growls. Underneath though, a pleasant and harmonious music dwells such that would be appropriate for a gentlemen’s wine tasting event. Indeed, Wolfir could make his band heavier and extreme by incorporating vocals all the time, but he is one man after all. The album begins with With A Taste Of Wormwood, that is, with a calm and serene strum accompanied by a badly sounding drum machine. There is not much synthesizer on this record, but there is some and the act sounds like a peer to late Tiamat, which as everyone knows was a wimpy second-rate version of Moby. Stellar Dust could be construed as akin to atmospheric doom while Heart In The Pattern Of Roots suffers because of a straight pop rock riff that could find favour on your FM rock station were it not for the vocals and the badly programmed drum machine. So many ambient and soft passages come and go that the slow to a crawl passages and slowpoke ambiance meld into one another quite quickly.
It is truly a bitter wine to swallow to co-exist in a world where people call anything and everything black metal or even metal and have adjectives like ‘badass’ reserved for commercial pop music. By those standards the flowery wine femme on the album’s cover is brutally infernal Satanic metal one supposes. – Ali “The Metallian”