Sum Of R - Spectral - review
Sum Of R - Spectral - review
Tracklist
01. Solace [feat. Juho Vanhanen]02. Agglomeration [feat. G. Stuart Dahlquist]
03. Waltz Of Death
04. Beer Cans In A Bottomless Pit [feat. Vicotnik]
05. Empty Rooms
06. The Solution
07. Violate
08. Cold Signature
A review by
musclassia October 05, 2025
That stylistic shift on Lahbryce was predated by, and a result of, the expansion of Sum Of R, initially Reto Mader’s solo project, into a full-fledged band also comprising Jukka Rämänen (Dark Buddha Rising, Atomikylä, Waste Of Space Orchestra) on drums and Marko Neuman (also Waste Of Space Orchestra) on vocals. A drone doom sound emerged with similarities to these new members’ other projects, as well as ritualistic acts like Wolvennest, but with the added dimension of Neuman’s maddeningly diverse vocal range. There were still ambient/drone elements, but with an overarching sound that was far more structured. This broadly remains the case on Spectral, but with a bit more of that freeform drone reintegrated.
That shift isn’t immediately obvious, as opening track “Solace” is somewhat in the vein of the first song on Lahbryce, “Sink As I”; both have fairly conventional verse-to-chorus structures in a psychedelic drone doom style, featuring initially soft clean-sung verses (albeit in a style that is typically eerie for Neuman), before growing heavier and incorporating harsh vocals. The vocals on “Solace” are partially performed by Juho Vanhanen (Oranssi Pazuzu, and another Waste Of Space Orchestra alumnus), strengthening the ties of Sum Of R to that circle of musicians. There is no guitar credited on the album, but something about the subtly melodic bass tone on “Solace”, which gives off a stoner rock vibe, almost tricks one into thinking that guitar is present.
There are other songs that follow in this vein, most notably “Empty Rooms”, which after a first half of eerie ambient noise accompanied by distant vocal cries (sounding as if being carried on the wind) shifts into a bass riff very much in the style of Om. “Violate” also features many of the similar components musically after an ominous synth-driven opening, and the crushing percussion, thundering bass and howling shrieks that herald the song’s heaviest portion are devastating in their delivery.
However, prior to this point, that initial synth section is accompanied by truly sickening gargles by Neuman, and a spotlight really needs to be shone on the album’s vocals once more. When vocalists are described as ‘versatile’ because they can both sing and growl, Neuman makes a mockery of such labels; the full spectrum of vocal styles across Spectral includes, but is not limited to, eerie clean vocals in both baritone and higher-pitched registers, conventional but harrowing screams/shrieks, cavernous growls, bilious gargles, repulsive moans, and spoken word as if speaking in tongues, and that’s not even touching upon some of the effects applied to the vocals. Sickening growls and demonic banshee cries add a harrowing vibe to the crawling bass rhythm of “Waltz Of Death”; later on, further surprises come in the form of a female choir that turns the track’s vibe into one of a religious hymn turned diabolical.
Alongside these rhythmic songs come those with looser structure. “Agglomeration” is effectively a bass/synth rumble that gradually escalates in volume, having only sustained cavernous growls, psychedelic synths, horror movie keyboard/piano and the most basic of percussion as accompaniment. Similarly static and one-paced is “The Solution”, a combination of bass riff and droning noise that never diverges from its simple hi-hat beat. The real wildcard on this front, however, is “Null”; frenetic snare rim hits evolve into jazzy and cacophonic drum rhythms, while ambient synths morph and twist. The song mostly draws attention for the vocals, which span high-pitched witch-like cackles, grotesque throat sounds, and tantric spoken word.
Most of the album’s tone is sinister and disorienting, but there are occasional moments that hint at a slightly more uplifting side. The record’s centrepiece, “Beer Cans In A Bottomless Pit”, exhibits the band’s krautrock inspiration in the form of a psychedelic jam feel to the synths and rhythms of the opening minutes, and when the vocals come in, they are in the form of baritone cleans from guest Vicotnik (Dødheimsgard). There’s an oddly melodic feel to everything, but there are odd twisted notes that slide in amongst everything, and eventually the whole track descends into darkness, the vocals becoming harsh and demonic. Closing track “Cold Signature” never declines in the same way, maintaining a warm ambient synth tone pretty much throughout with no rhythmic accompaniment, but even though the sparse vocals are also clean, something about Neuman’s delivery maintains the feeling of unease established across the record up to this point.
The peculiarity and abstract nature of substantial portions of Spectral will not be for everyone, or in fact most people; I myself wish a bit more of the content was in the same style as “Solace” and much of Lahbryce. However, there’s no denying that the record’s sound is very unique, and the atmosphere it creates is genuinely unsettling in a way that can only be admired.
Written on 05.10.2025 by
Written on 05.10.2025 by
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