Sentiment

The first thing that comes to my mind when listening to 'Sentiment' is it's good use of loud/quiet dynamics. It is a very well-balanced record. Melodic but in a tasteful way. Meaning that melodic segments are not overdone even during passages which might lend themselves to further explorations along those lines. The opening track 'In It's Absence' with it's non-melodic heavy parts, heavy melodic parts and clean passages might give you a hint of what I am trying to convey here.

At times there is a vague Opeth-like quality in the way melody is used. Think 'Blackwater Park' and 'My Arms, Your Hearse'. The haunting melodies on 'Harvest' or the atmosphere of 'April Ethereal' would be poignant examples. It is not so much about the compositions as a whole as it is about a general feel that seeps through the material. Paradoxically draped in a bleak vastness as well as an aura of warmth. The use of space emphasizes this point. You are being pushed away only to be drawn back in.

The vocals fits the music splendidly. Most of the time they are guttural, but here and there you will get a dash of tortured screams. There are also some clean vocals by guest performers. They are used sparingly and I think that was a wise choice. Some bands manage to blend clean and harsh vocals, but as a rule it is a feat that is hard to pull off.

Parts usually flow into each other in an organic manner and the old "Oh, here it comes"-segue before a given passage is generally avoided. Even when you do expect the part it is not performed in a formulaic manner. The breakdowns, which are used with restraint, I would say are in the vein of Ahab if I had to describe them.

Like the natural changes throughout tracks the guitar-tone possess similar organic qualities. Although distorted the distortion is not dialed up to the max and the performances are not obscured behind it. The drum sound is clear and there is not a "click drum" in sight. They are given space to breath and have an airiness to them. The bass is "just there". The Funeral Doom/Sludge genre(s) usually does not allow much room for "Steve DiGiorgio":esque virtuosity. It is a good fit in this context. You hear it if you listen, but the way it is placed in the mix keeps it out of the spotlight.

All of this results in an overall production with a mostly pristine surface. In a good way though. It does not feel forced and you won't find parts conforming to modern-day compression practices. 'Sentiment' cannot be blamed for being a "Loudness war"-album. In theory I probably should not like the album's aura, I prefer the harsh and dirty, and yet Un just makes it all work. On a bad day the cleanliness might get to me. If I had to lay forth a proper critique that would be it. Hypothetically. At the time of writing I could not stand by that opinion.

The artwork is nice and it appears to be seamlessly woven into the music on a thematic plane. The band also took the time to say this on their bandcamp page (at least): "We wrote this album as a token of gratitude for all those who struggle against the weight of their own existence." I understand that this might appear mushy to some, but I find it refreshingly honest. It touches upon the mostly silent, and widespread, issue of mental health.

The album itself might dwell on the gloomy parts of existence, but it does so for a reason and in a, perhaps contradictory, positive way. Given the title of the album you cannot really blame me, or the band, for getting a tad sentimental. There is more to life than titties and beer, weightlifting and Hatebreed, edgy misanthropy and Watain.

Their debut 'The Tomb Of All Things', while good, is a little rough around the edges; production-wise as well as when it comes to the songs themselves. 'Sentiment' straightens out the kinks without making things sounding strained. This is one of those pieces that has left an impression on me. It is a listen I have found to work in most situations. A cohesive and, plainly put, pleasant offering. Why anyone who is into the genre would say otherwise is beyond me.