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country: USA
label: Eisenwald
year: 2019
format: 2LP
Condition: New
Eisenwald (Nico Meyer)
Georgenstraße 27
99817 Eisenach
Germany
info@eisenton.de
2nd Press
"diabolical and deep, like a better-informed and more melodic version of De Mysteriis-era Mayhem. The result scratches the infernal itch perfectly, and will hopefully be embrace by both old- and new-schoolers alike."
Ascolta su YouTube
2nd Press
On their sophomore full-length, “Cult of a Dying Sun”, Uada expand their scope and range of hypnotic craft. Balancing sharp riffs with spectral melodies in a manifold of haunting yet distinctive black metal dirges. A sharp spear in the heart of the brightest star. Epic, atmospheric, deadly.
Simply titled but by no means simple in construction nor execution, Djinn builds upon the increasingly ambitious songwriting of its no-less-considerable predecessor, but pushes their dazzling artistry into nearly Technicolor landscapes of the Beyond. Upon the first opening notes, this boundless artistry is felt: big, rolling rhythms reminiscent of post-punk, tantalizingly setting the stage for the splendorous expanses to follow. There's a certain magick at play here, no doubt bolstered by the band's rhythm section of Josiah Babcock (who puts in his final performance here) and new bassist Nate Verschoor, erstwhile mainman of Veiled; this throttling-yet-deft foundation both leads and plays acute counterpoint to the spiraling, windswept riffing of founders Jake Superchi (also vocals) and James Sloan, their guitar work transcending the poignancy of prior works. And indeed, Djinn's generous six-song/hour-long runtime no doubt allows the listener the ultimate freedom to roam within Uada's ever-unique world, spanning both smothering speed and deliriously dream-like states, Very Metal urgency and textural exploration alike - put simply, the band at the height of their creative powers. Djiin is truly its own realm of experience.
"Djinn, first inhabitors of this world, the smokeless fire and those we call upon our enemies, has gifted us a 60-minute descent into the modern-day possessions of our existence and demise," state the band, "A duality that can only be known as our third wish."
Five sonic vessels form the nucleus of 'Crepuscule Natura', and within it`s 41 minutes, the record easily creates a sonic and aesthetic bridge between the band`s debut, 'Devoid of Light' (2016), and their sophomore effort 'Cult of a Dying Sun' (2018), only to forge onward upon the relentless path set forth with 'Djinn' (2020). Here, a more refined and muscular, yet no less melodic stronghold awaits. On 'Crepuscule Natura', UADA provides all their memorable hooks, tasteful leads, and riding blasts in their distinct style, balancing their epic surging melodies with powerful spurts of aggression. Just like the band's smoke-heavy shows, the momentum and emphasis of their craft always stays grandiose, mythical, and triumphant – all the while making sure to birth a couple of new fan favorites and soon-to-be staple live songs.
'Crepuscule Natura', once again graced by the artwork of legendary Kris Verwimp and photo work by Peter Beste Photography, shows UADA on fire to unleash the marrow of black heavy metal.
"The idea of Interwoven—an acoustic journey tracing one song from each chapter of our discography—was first envisioned on the very day UADA was conceived: October 1st, 2014. In those early conversations, when I laid out the future I sought to create, and recall sharing the concept of a stripped, atmospheric interpretation, supported by the haunting resonance of strings—cello or violin. At the time, the notion was met with skepticism, perhaps even dismissal. Yet it was an idea I knew would one day take form. It had to.
UADA has always drawn from a wide spectrum of influences—many of which extend far beyond the traditional boundaries of black metal. With Interwoven, we sought to peel back the layers and reveal the vastness of these realms; to immerse the listener in both the foreign and the familiar, in textures that challenge and comfort in equal measure.
More than a sonic experiment, this album was a deliberate act of vulnerability. It was a personal and collective trial—a chance to step outside the acquainted shadows and embrace the uncertain light. The earliest intent was to craft something primitive and ritualistic, echoing the ancestral tones of ancient Pagan folk. Vocally, we anticipated a palette of whispers, chants, and throat singing. There was never a plan to explore clean, melodic singing—until an improvised vocal passage in Djinn revealed something unexpected. That unscripted moment sparked the foundation of what would become this album. With the band’s enthusiastic support, the recording process began—without a script, without rehearsal, and with full commitment to spontaneity and truth."
"The idea of Interwoven—an acoustic journey tracing one song from each chapter of our discography—was first envisioned on the very day UADA was conceived: October 1st, 2014. In those early conversations, when I laid out the future I sought to create, and recall sharing the concept of a stripped, atmospheric interpretation, supported by the haunting resonance of strings—cello or violin. At the time, the notion was met with skepticism, perhaps even dismissal. Yet it was an idea I knew would one day take form. It had to.
UADA has always drawn from a wide spectrum of influences—many of which extend far beyond the traditional boundaries of black metal. With Interwoven, we sought to peel back the layers and reveal the vastness of these realms; to immerse the listener in both the foreign and the familiar, in textures that challenge and comfort in equal measure.
More than a sonic experiment, this album was a deliberate act of vulnerability. It was a personal and collective trial—a chance to step outside the acquainted shadows and embrace the uncertain light. The earliest intent was to craft something primitive and ritualistic, echoing the ancestral tones of ancient Pagan folk. Vocally, we anticipated a palette of whispers, chants, and throat singing. There was never a plan to explore clean, melodic singing—until an improvised vocal passage in Djinn revealed something unexpected. That unscripted moment sparked the foundation of what would become this album. With the band’s enthusiastic support, the recording process began—without a script, without rehearsal, and with full commitment to spontaneity and truth."
Five sonic vessels form the nucleus of 'Crepuscule Natura', and within it`s 41 minutes, the record easily creates a sonic and aesthetic bridge between the band`s debut, 'Devoid of Light' (2016), and their sophomore effort 'Cult of a Dying Sun' (2018), only to forge onward upon the relentless path set forth with 'Djinn' (2020). Here, a more refined and muscular, yet no less melodic stronghold awaits. On 'Crepuscule Natura', UADA provides all their memorable hooks, tasteful leads, and riding blasts in their distinct style, balancing their epic surging melodies with powerful spurts of aggression. Just like the band's smoke-heavy shows, the momentum and emphasis of their craft always stays grandiose, mythical, and triumphant – all the while making sure to birth a couple of new fan favorites and soon-to-be staple live songs.
'Crepuscule Natura', once again graced by the artwork of legendary Kris Verwimp and photo work by Peter Beste Photography, shows UADA on fire to unleash the marrow of black heavy metal.
