Twinesuns are a German metal band that bring a dramatic and boldly unique twist to their music genre. Upon first listening to their latest album, The Empire That Never Landed, it is immediately apparent from the lack of percussion and vocals that this band is here to offer us something more, something new, something different to the same-old scene that we are used to. It is a prompt and decisive move to push the audience out of their comfort zone and into Twinesuns’ very own world, and what a haunting world it is.
The record begins on good footing- the opening track, ‘Simon the Magus’, begins with a rising cacophony of heavy guitar distortion; a rivetingly slow build-up of chaotic melody, wailing uproar and echoing feedback, mixed in with what sounds like a billowing wind, working seamlessly in tandem to create in our minds this wild, unrelenting atmosphere that depicts a scene unlike many I have ever yet to experience through the medium of music alone. As this loud, adrenaline-pumping introduction fades away, almost as quickly as it arrived, I find the sound reminiscent of prog-rock icons Tool, and certainly the length of the tracks on this album (the shortest of which being 6 minutes, the longest closer to 14) would seem also to reflect this striking resemblance. Further into the track, we hear again how the band opts for a more symbolic, interpretive approach to their art with the addition of a sound effect akin to a steam locomotive. Whilst this does well to quickly capture one’s attention, the album unfortunately seems to lose its gathered momentum just as fast.
What began as a vastly intriguing concept, boasting a non-traditional ethos with an almost hypnotic or even mesmerising tone, steadily deteriorates into a dull and agonisingly drawn-out discord. The remainder of the album regrettably grows ever more repetitive, especially in its second track ‘Die Zeit Ist Da’ (which translates from German to mean ‘the time has arrived’). After such an enticing opening, one might argue that the first track was rather anticlimactic in hindsight, as you are left waiting in vain for a destination that the band never does seem to be able to reach for the whole duration of this record, surely leaving the audience less than satisfied.
Track 6 almost redeems the album with its attempt to break the lyrical silence, utilising a chilling addition of gravelly, unintelligible whispers so chilling that you would think they had risen straight from a horror movie, however the artist still seems incapable of shaking off that irritatingly repetitive drone that echoes throughout, hence I do not linger long in my attentive state.
It is a real shame that I am forced to critique this new work from Twinesuns negatively. Whilst it is rife with artistic liberty and hosts a refreshingly abstract and dramatic outset, indicating perhaps some great potential it falls short of its goal and fails to provide any genuine allure for the full duration of the record. To comment on its overall impression, I would say that I could see The Empire That Never Landed as being more suitable in the background of a motion picture as a soundtrack, yet alas simply cannot picture it filling a concert hall.
To judge this band for yourself, you can find Twinesuns’ previous work on Spotify, or for more information on the band itself you may visit their official Facebook page, @twinesuns, or go to their official website at https://twinesuns.bandcamp.com/