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Geen Weg Uit

by Dystopia

supported by
𝙅𝙤𝙚 𝙎𝙥𝙞𝙣𝙚𝙡𝙡
𝙅𝙤𝙚 𝙎𝙥𝙞𝙣𝙚𝙡𝙡 thumbnail
𝙅𝙤𝙚 𝙎𝙥𝙞𝙣𝙚𝙡𝙡 A splendid, emotional mixture of thunderous black metal, post-rock/gaze and weight of doom death. Brasses add wonderful apocalyptic feeling like the Revelation is breaking loose in all it's power. Tremolo guitars pours out magical melodies on top of all that. But there's also fine serene passages where music can breathe and especially bass and trombone gets the limelight and they shine like crystals. Mournful and elegant album that stands the time. Favorite track: Razernij: III.
YomaBarr thumbnail
YomaBarr Looks like I vastly underrated this upon its release. I repent...

Take black metal, push it gently to the post black side. Add dual vocals, awesome brass, OK, trumpet and wait, is this a bloody trombone?, garnish with Gilmourish solos, sprinkle with a pinch of yeah, Bolt Thrower, shake well, coat with emotional impact.

This can't be judged just by the first song. This develops, and does it greatly.
Доберман Сатз
Доберман Сатз thumbnail
Доберман Сатз What an album!!! All the songs are amazing. The horns produce a war like feeling.
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Razernij: I 05:06
Razernij: II 05:22
Razernij: IV 03:58


Three years succeeding the epic opus “Chaos Philosophorum”, Dutch unit Dystopia reappears and amazes yet again with a new utmost experience on profundity and emotion, an imposing ordeal entitled “Geen Weg Uit”.

In the course of three passages, the quintet dwells deep and beyond the eclecticism and singularity it purveyed more and more on recent endeavors. Holding Black Metal as the core of its musical essence, Dystopia bifurcates into further grounds with imposing yet wonderful brass instrumentation crafted side by side with belligerent Death/Black incursions, ranging from storming blast-beating assaults filled with aggression to slower, heavier, more circumspect sections where the Dutch collective exhibits its atmospheric, most empyreal facet.

Such misty ambient traits reach its paramount character during the clean, utterly ethereal, celestial parts in which Dystopia successfully reach new heights in magnitude and passion without ever losing the intensity and urgency that permeates the more abrasive side of the band’s music.

Progressive, psychedelic chords gain momentum from a dynamic, sheerly organic production. The various faces of Dystopia’s art breathe alongside in harmony, a task which – with such long compositions – could be arduous to achieve but in here work fortuitously by matter of such a vibrant sound and carefully crafted arrangements. More than anything, these compositions function as entire narratives, grandiose tomes that makes the listener forget the sense of time and place and to elevate into new zeniths.

Just as musically “Geen Weg Uit” carries a hopelessness and hectic fervor, such is a vehicle to and from the lyrical and graphic content which it conveys. It is a journey into humanity’s feeble ways, the madness and hastiness of our personal weakness. In a world devoid of individuality, of existential purpose, Dystopia forges a cry for control of mind, spirit and body, a burning flame which for all its bleakness it is (still) a very human one.

Out on Wolves of Hades on limited vinyl LP, enter a 40-minute pathway into an impending doom, a visceral sonic voyage to the dark night of the soul in the form of musical art, a way out that shall endure beyond human existence, into the everlasting time.

(Text by Mário Souto)


released September 25, 2020


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Wolves of Hades Amsterdam, Netherlands

Carving the sound of broken bones and desperate cries through analog decay since MMXIV.

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