Band:	Vesania
Album:	Deus Ex Machina
Style:	Symphonic black metal
Release date:	October 28, 2014
A review by:	D.T. Metal

01. Halflight
02. Innocence
03. Disillusion
04. Vortex
05. Dismay
06. Glare
07. Notion
08. Disgrace
09. Fading
10. Scar [feat. Zofia Fraś]

Recently signed to Metal Blade Records and after a drought of seven long years, the Polish symphonic blackmetalers Vesania are on the verge of releasing Deus Ex Machina, their fourth full-length album in seventeen some years of existence. Was the long wait worth it though?

Did they continue where 2007's Distractive Killusions left off? Debatable. Did they go back to the older, somewhat more raw material of 2003's Firefrost Arcanum? Somewhat. To really answer this question, it all depends on what one expects from Vesania anno 2014.

By today's standards they could be considered a "supergroup", were it not for the fact that the core members produced their style of black metal long before any joined other bands. With members/ex-members of Dimmu Borgir, Behemoth, Vader, Decapitated and Masachist, just to name a few, it's a given that the band doesn't lack on talent. Vesania always had a knack for symphony in their songs and as a band they should explore new avenues and not be stuck in the past. The music, as well as the musicians should evolve over time and Vesania did just that with Deus Ex Machina.

Upon first listen, the drumming really stood out, or rather the lack thereof. Lack, as in there are no useless cymbal bashing or 'let's hit the snare' for no apparent reason. I am almost inclined to say that Daray did his best drumming yet on Deus Ex Machina; no fillers, just solid beating of the skins.

While the definition of "tr00" black metal vocals is a debate for another time, Orion's version complements the atmosphere the band is going after. His vocals seem much more distinct, stronger, and more versatile this time around. And while his abilities as a bassist are undeniable, I prefer his guitar shredding in Vesania. Him and Valeo prove that it doesn't always have to be down-tuned, tremolo picking madness and that clean solos go a long way as well.

By sheer nature of the genre, it goes without saying that Siegmar is a maestro and has outdone himself on this album and Heinrich's bass scales are not just an afterthought (as with so many new releases these days) but balance the overall sound quite well.

While "Glare" or "Notion" bring back memories of the 'simpler' black metal sound, songs such as "Innocence" or "Disgrace" weigh more on the theatrical aspect of their tunes, while still remaining that black metal feel. To be honest, "Vortex" caught me off guard. Short, fast, in your face, brutal as hell before fading out with lots of creepy ambient noises; dat drumming, love it. But the meat and potatoes, the 'go big or go home' moments of Deus Ex Machina are "Disillusion" and "Dismay" - and they went BOMBASTIC on the latter. For me, this is Vesania of today.

Is the album groundbreaking? No, but what really is these days? Was it worth the wait? I would say yes. It seems that Vesania took the 'lessons learned' approach, skimmed the fat of whatever they had done before, tossed what was left in a pot, stirred it, and the final product became a flowing, very well mixed and produced album. Vesania not only stayed true to their trademark sound, they took it to the next level with Deus Ex Machina.