Published: February 2014

The Iranian Count de Efrit himself says that he sees its origins in Black / Gothic Metal, which is increasingly open to influences from post-rock, doom, experimental and ambient music over the years. These are already clearly heard on the debut album 'Suicidal Rebirth', will be on the following works 'Hypermnesia' and 'The Conceptual Horizon' reinforced, and 'Nowhere' is a logical continuation of his cross-genre, moody style. The Black Metal shares from early days confined to occasional breakouts (which now and then unfortunately rather disturbing effect in the sound), binds "Nowhere" also more Trip Hop and - a female vocals - for the first time utilizing Megan Tassaker from the Gothic Doom band Lycanthia. On the whole, Megan goes perfectly with bittersweet compositions like 'Public Theatre' or 'Parallel Universe', especially when Count de Efrit in clear acts duet with her. And as Megan's voice sometimes drifts into a little Pushy, is at Count de Efrit still neat air upward as far as the Black Metal vocals. Instrumentals like 'Blessed By Nature' are soulful, atmospheric gems that you at Ekove Efrits place since time immemorial and will not want to miss. A highlight on "Nowhere" is the wonderful 'infinitesimal', which is like a quiet stream. 'Sword And Wound', which metallischste piece, although impresses with some beautiful melodies and leads, however, suffers back on vocals. The following 'At The Gates Of Oblivion' with a dazzling Megan and calm ambient piece 'Belong To Nowhere' compensation at the end for many things - yet it somehow remains a mixed thing.