Releasing your first two records on prestigious labels such as Magnetic Eye Records and Blues Funeral isn’t the worst way to commence a career. Such is the case with Brooklyn, New York quartet Somnuri, who comprise of Justin Sherrell (guitars/vocals), Phil SanGiacomo (drums), Chris Drapeau (guitars/vocals), and bassist Mike G.

The band also contributed to Magnetic Eye’s fantastic Redux series covering ‘Sheep’ for The Best of Pink Floyd as well as ‘Dirt’ to the Alice In Chains tribute album of the same name. Researching the album’s title, desiderium is defined as “a longing or desire, especially for something you once had.” What it is the band are longing for is a mystery, but my interest was piqued enough nonetheless to want to review it. 

‘Death is the Beginning’ makes an immediate impression alternating between blackened death metal and introspective prog. The vocals reflect these two contrasting musical styles with shrieks and growls as well as soothing melodic dreamscapes, coming across like a mixture of Porcupine Tree and Incantation. A promising opener. ‘Paramnesia’ nods to post-hardcore, the riffs having as much earworm potential as anything produced by the likes of Quicksand, Helmet et al. The difference being that whereas those bands are a little blunter and utilitarian in their musical approach, Somnuri add a psychedelic bent to their sound that takes you on a similar journey to that embarked upon by post-Metallers Isis and Jesu. A personal favourite. 

Despite being only 2:38 long, ‘Pale Eyes’ showcases more diversity in its short running time than most bands muster in their entire career. There’s a punchiness to the track too that defies it at times head-spinning time signatures. At moments I’m reminded of Iron Maiden (despite never caring for that band) as well as that 2000’s ‘Metalcore’ sound, but don’t let these comparisons put you off, this is infinitely better.

‘What a Way to Go’ reminds one of the tough metallic hardcore of vintage Pro-Pain, the vocals of frontman Gary Meskill ringing through with brute force – it’s certainly a lot more stripped down with a driving quality that affords the album a welcome change in sound. ‘Hollow Visions’ by contrast is more textured in a manner akin to Failure‘s unique brand of space rock, sadly long-forgotten nineties supergroup Handsome, and even Faith No More‘s woefully overlooked Album of the Year, the track ‘Helpless’ particularly. As a fan of all those bands, I’m certainly more than content with this. 

Fans of Kylesa and High On Fire may get a thrill out of ‘Flesh & Blood’ a number that illustrates the band’s talent for producing pummelling sludge metal but with an intelligent and experimental streak while ‘Desiderium’ is wonderfully expansive and unpredictable and you are never quite certain where and when it will land, I was reminded a little of latter-day Deftones in places. 

‘Remnants’ has touches of Helmet were it to be filtered through a death/black metal filter, a particularly rousing track, and ‘The Way Out’ concludes the album on a grungier note reminiscent of Soundgarden‘s swansong album King Animal. As with the grunge legends, there is a darker edge to the track and the title is certainly indicative of someone who may be feeling a sense of hopelessness. A satisfyingly bleak way to conclude proceedings.

It’s to Somnuri’s credit that I found this a challenging album to review, the band deliver music so unpredictable and multifaceted that to paraphrase their fellow New Yorkers Dog Eat Dog, I had to learn to expect the unexpected. It may take a few listens to gel but it’s definitely well worth the effort. 

Buy the album here:

https://somnuri.ffm.to/desiderium_.OYD

8 / 10

REZA MILLS