Release: June 1st, 2018
Annominus is a Danish rock band formed in 2009 with the goal of creating their own musical universe by taking the best of what they know and love from the rock and metal scene and adding their own personal touch to the mix. As a result, their debut EP “Vashta Nerada” from 2011, attracted a lot of attention on the local scene, and was soon followed by their first full-length album “End of Atonement” (2013), which made them a favorite of the Danish underground. And now, five years later, Annominus has released its sophomore effort, titled “The Architect” via Mighty Music.
Marilyn Manson once sang that “everything has been said before / there’s nothing left to say anymore”, so what do you do then? Few are the brave ones that try to reinvent the wheel, so to say, and create something new and original, while many follow the beaten path and come up with music that is a rehash of sounds we are very familiar with, within a certain genre.
And in principle there is nothing wrong with this approach, as long as you also bring a little something that is different to the table. And I have always been very appreciative of bands that put their stamp on their music. But I am not sure this is the case here.
With the concept album “The Architect”, Annominus have tried their hand at some type of progressive rock, as it deals with how we as humans can become discouraged by the world we live in, and how we can either rise from the ashes, or let us be destroyed by ourselves. The album also brings a critical view of the institutionalization of us as human beings, and a more poetic entry to the ‘us against the world’ idea. The music per se brings to mind both a softer version of Bullet for my Valentine as well as Votum (Polish progressive metal band), so I must give them credit for that combination of genres. Even though I am used to their overall sound – a mix of clean and raw vocals, amidst distorted guitar riffs (hence the BFMV vibes) – there’s a certain atmosphere created by the instrumental that I like. This atmosphere is especially evident in the longer tracks – “Cubic” and “Audient void” – but also on “Through perdition”. “Submertia” is a bit more on the doom side of metal while “Distinctive” has more of a grunge feel to it. So if the instrumental is quite good throughout the albums, with some nice riffs and drums patterns here and there, the vocals are a not up to (my) standards, which makes for a rather painful listen through (especially when it comes to highs / screams). I think I would have liked it better with harsh vocals.
Jacob Zinn – Vocals & Guitars
Mathias Wahl – Drums
Peter Sandvig – Guitars & Vocals
Jens Moseholm – Bass