Tersivel – To The Orphic Void
Release Date: 11th February 2022
Label: Uprising! Records
Bandcamp
Genre: Sludge, Folk Metal, Death Metal, Post-Metal.
FFO: Gojira, Rivers of Nihil, Dvne, The Ocean, Baroness.
Review By: Andy Spoon
For a band who, according to their own testimony, has jumped between genres, Tersivel has found a vibe which is both invigorating and entertaining through its curtain of noise and harmony. Managing to be both sticky and smooth at the same time, To The Orphic Void expertly fills all of its entire LP-length in only six tracks, the shortest of each, a mere 5 minutes long. Average song length is around seven and a half minutes, but honestly, it’s hard to notice, as the thick and chunky waves bounce off of quiet interludes between movements in a meaningful mess of tone and substance.
The heavyweight deep vocals are a mix of fry and clean, such that each note comes through the heavy track still in tune. Pervasive keyboards influence Tersivel’s aura by stacking electronic strings, organ, and choral layers to the sound, harkening to days when Opeth or Mushroomhead were probably on repeat in an Argentinian basement years ago. Guitars are somewhat set in the background to the keyboards, though, on some tracks, creating a fight between the two instruments at some points during the record. I think that some might prefer the guitars more equalized or more forward in the mix, but it does add to certain aspects of the overall “tone” (see later). Keys are especially loud in Weeping Iron Tears as orchestral, but fabulously reminiscent of Emerson, Lake, and Palmer or Yes in the first track, She.
Pace is low and sludgy, allowing the vocals to control the rhythm dynamics. The ebbs and flows are dramatic, especially in She, ranging from heavy and pounding meter, dropping down to a melodic interlude between acoustic guitar and soft pads on keys. The marquee track on the album, The Ferryman, is more indicative of the band’s signature sound, heavy vocals with pounding downtempo drama. Folksy-metal themes are present in vocalist Lian Gerbino’s lyrics, giving the album an edge of supernatural and moody flow. The pace of the album is very consistent, giving the listener something that he/she could play front-to-back without much disturbance, heavy waves giving way to light interludes of soft and melancholy sludgy goodness. Great dynamics are always a way to keep your audience engaged, and To The Orphic Void brings quite a bit to the table.
Production value is quite good, musicality staying top-notch at all times. The recording in stereo mixdown allows for more drama between left and right channels to come through, especially on the drums. Bass guitar and keyboards mix together especially well in some tracks, allowing the guitar section to “step back” into the mix. In what is arguably the album’s best track, Moving On, the howling choral arrangement on keys and crystal-clear bass section for the entirety of the last 3 minutes of the blistering seven-minute song, which is so satisfying in its execution, it warranted several replays in a row.
When taken into context that this band plays together on two different continents, it makes the effect of To The Orphic Void just that much better when experienced. Split between Sweden and Argentina, members of Tersivel have taken advantage of recent technology, no doubt enhanced in the COVID-19 era, to meet and collaborate. Overall, the album is largely a triumph for the band, who have claimed some meandering in style over their last several releases. I certainly hope that, for the sake of future releases, more music like To The Orphic Void is released.
(4.5 / 5)
