Published: February 19, 2014

Ambitious … yes, ambitious seems to be a proper term for describing the performance of the band on this recording. Ambitious. A glance over the track list reveals this aspect readily. Also the name of the band fits into this perception quite neatly. Therefore, the aspect of putting all elements, facets and impressions together into a coherent picture is anything but easy. Is the track title of the opener a reference to the eponymous Sherlock Holmes novel? Why do the instrumentals have French titles? Actually, why are these instrumentals necessary at all? And why this odd use of characters for the last composition? What does मातृ (mātṛ) even refer to? Yet all of these issues should be put aside for a moment, because one should ask whether the music can even be of such quality as to be on par with the speculations that arise from these impressions? 

Three years in the making – according to the bandcamp entry, the band spent this time frame for the creation of this album. Yet it feels somewhat odd to read this, simply because what information can actually be gathered from this? With such a statement thrown towards the audience, is it not the case that the bar is set to considerably high(er) levels for the band? Especially as there seems to have been no reason to do so in the first place. 

Anyway, the Ukrainians thought otherwise and dare to come over as somehow outré, novel and out of the ordinary. A Manichean surface, while the underlying basis lacks the proper pillars to back it up or rather support the necessary height. “Once Hidden from Sight” is by no means a bad release. Having been produced quite amply, the music is as such as to create a certain kind of fascination and to have enough facets to avoid some of the all too common pitfalls. With growls and clean vocals -- with a type of singing that is quite enjoyable and harmonious -- enough facets and contrasts are created to keep all going. Yet, this is just one facet. Undoubtedly most would admit and agree, but Vin de Mia Trix leave the listener alone in the desert at times. In barren fields to which the music tends to turn at times but also abandon all too often. Là où le rêve et le jour s’effleurèrent (track number three) and La persistència de la memòria (track number six) are both non-metal instrumentals and each of a considerable length. Somehow they meander along, bereft of any connection to whatever basis that might have ever been. Like a riddle with too many clues to unravel the mysteries of its core. Aside from this, also the other compositions are by no means loaded with metal parts. As can be suspected from a band of this genre – doom and death metal –, calm moments with less emphasis on the heaviness and aggressiveness make a distinct part of the concept of the band. This alone is not what is there to criticise. It is the amount in which it all plays out and the total share of it in comparison with other elements. At this point the Ukrainians loose the touch with the audience. 

It is difficult to take a dive into the flow of the melodies, because there is a constant disruption of it. Be it in or at times even between the compositions, Vin de Mia Trix demand a considerable amount of attention from the listener, would this person attempt to grasp the meaning of it all in its fullest and on how all can be interpreted. Sadly this has an effect on all that should be praised about this album. Indeed, there are some nice melodies and arrangements at times, also the vocals tend to have a special touch to them. There are even some rare moments in which all hangs together nicely and coherently. But in the end their share drowns in an endless sea of pointless calmness, whose part drags all down into a realm of sedated activity. 

Bottom line:

Arty – feel free to interpret this term as you wish and desire.