“‘Ensnaring the Demiurge’ has a lot of energy to it that comes from acting upon creative ideas and discovering exactly what you can make of them for the first time,” speak Void Tendril of the inevitability of the project  – birthed of vocalist Perran Helyes and multi-instrumentalist Josh Lloyd’s inescapable relationship with blackened filth that could no longer be limited by the titles of “consumer” and “audience”. Converging in digital clouds, the pair exchanged ideas from a distance and began to tentatively tease out what has come to be an incredibly self-assured introductory offering – housing an emotional breadth that continuously trades ferocity for melancholia, and visa-versa, until the lines between both become unreadable. Much like the limbs depicted on the release’s cover – reaching from geographic-black and enveloping a monument that foolishly threatens permanency, Void Tendril reclaim creative-freedom with every shape-shifting left turn. Within 32-minutes, ‘Ensnaring the Demiurge’ establishes the black-doom-duo as a pair who value vision and autonomy over any kind of grouping.

‘A Crone’s Reptilian Eye’ casts a long shadow over ‘Ensnaring the Demiurge’ before slow-blood sharpens as crushing menace paints a scene of a wood that watches. Crawling slowly from the mournful dirge of ‘Shivering Residue’, ‘The Vampiric Embrace of Flame’ sees Helyes sinking his teeth into the corrupt catalogue of political errors unearthed in the aftermath of the Grenfell Tower tragedy – challenging the guilty parties who tell us to avoid “politicising tragedy” until finally choking them out in accusatory, Rainbow Boa constriction. “Hold a torch to the leech and its gorged body bursts,” is barked against fervent hyper-death, and with such venomous scorn, it’s made clear that no birds fly in Void Tendril’s unforgiving sky. Although humbly surrendered as some-kind-of micro-release, ‘Ensnaring the Demiurge’ acts as an incredibly direct statement of intent – bleeding-out the bloated banality of funeral doom and shamelessly dwarfing the monotonous pit-falls of the genre. With their first offering, Void Tendril clear a sound-field of empty sonic references and leave an audience in-waiting. “Bitter sickness blooms.”

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James Musker

Music Journalism student and lover of all things sensory and cosmic.