Invernoir is a Gothic doom/death metal band from Rome, Italy. They formed in 2016 and their latest album, “Aimin’ For Oblivion” is their second full-length album; they also released an EP in 2018.
“Aimin’ For Oblivion” is an extremely well written album that is captivating from start to finish. Its moody atmosphere is brought to life with rich, full Gothic influences. Melding perfectly into this tapestry of macabre musings is a firm grip on dark and deep death/doom. The result is an album that is as haunting and emotional as it is heavy and abrasive. However, it isn’t heavy in an aggressive way. It’s the layered emotions, the shades of gray that rest upon each other to create this special kind of oblivion. To me, that’s as heavy as anything in the universe, and certainly rivals even the most extreme music I could ever find.
The production is one of the many highlights that make the album standout so late in the year. It sounds amazing by offering a wide, open sound that captures every ghostly detail the band brings to the table across the album’s 8 song, 47 minute runtime.
As expected, and appreciated, the songs are slow to mid-paced. This lack of a rush captures the true essence of doom and this album’s sound. The band’s approach to songwriting really allows each of these songs to unfurl in a very natural way—the album flows from beginning to end without any bloat.
The album opens with “Shadow Slave,” and the clean notes set the tone for the rest of the song. Musically, their clean instrumentation is just as important as the distorted passages…each of them play off the other and both are required to really let this song, and the album itself, shine.
The riffs kick in, laying a suffocating blanket but tinged with delicious Gothic melodies. The song, and the album, hits a very striking balance between light and dark elements. I absolutely love every vocal style in this song too. Whether it is deep growls, screams, or cleans, it is all very effective and ties into the music effortlessly. During the clean vocal passage, the rhythm reveals its prowess; the crashing cymbals hit at just the right moment and the bass balances low end with its own sense of melody.
“Desperate Days,” showcases another strong songwriting element the band has a penchant for: using the lead guitar to boost the vocals and vice versa. The beginning scream rips the song open as the guitar follows through, together the song is pushed forward. Around the 2 minute mark, the death growls/screams scrape against the edge of the song’s boundaries while the lead guitar reaches for the skies.
The melodic grooves of “Broken” make for a surprisingly catchy song, despite the subject matter. The clean vocals are especially great here, soaring and triumphant in their praising of all that is dismal in the world. The extreme vocals are energetic and actually quite biting, a contrast against the sorrow that makes the song even better. The ending guitar solo hits right in the feels too, highlighted by the void like bass and the pervasive drumming.
The ending song, “Useless” is the most atmospheric on the album. The lead and rhythm guitar meld into one cohesive force while the bass/drums double down on the low end and rhythm. The song sounds expansive and seems like it could go on forever. The death growls sound truly lost and pained. A fantastic way to end a fantastic album.
Invernoir’s “Aimin’ For Oblivion” is a fantastic doom metal album that captures the essence of what makes sorrowful, depressed music so appealing. Hardcore fans of doom will find much to love here but it’s epic and thoughtful enough to pull in new fans of the genre as well.
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