I will probably not be a fan of atmospherically wavering 5-minute-intros any more, but after the acoustically little unsatisfactory thirst stretch of the first chapter Meditatum I, the opening riffs from the next section quickly reconcile me. Now keyboard dominated, dramatically presented Black Metal comes into operation, which also has to offer a heroic and fervent timbre, in addition to hysterically screeching, desperate vocals. The compositions float in convenient manner and connect the infinite ease of being with desperate pain in the world; then the dreamy mood is broken by neck breaker attacks and integrated reverted sound paintings. This acoustic space sound enriches the music, but sometimes it is too much. In doomed and hypnotic parts, URFAUST feel visibly well and use the voice in the third chapter as a further layer to consolidate their cosmic arrangements. Pleasantly, the seven minutes pass by without having real climax - this is extremely harmonious, but unfortunately also uninhibited. With leaden seriousness, part IV fights for access to the auditory canal through the sacral aura and causes only marginal dynamic fluctuations on the downward open metal sound scale. Meditatum V grows groovy and creepy, with convincing, abstract clear vocals and a staggering atmosphere. The epic finale is seamlessly connected and URFAUST surprise with an unconventional instrumentation. Acoustic swarms from esoteric chants as well as scraping plucked instruments daze the emotional nerve center, but cannot capture totally after lacking the initial surprise effect, because of little variety.
For me, Empty Space Meditation got an extremely suitable title; I can quite surrender to the meditative sound collages, but the all too uniformly persistent pieces do not grab me by the throat – the one or other additional outburst would have contributed to a better overall result!