Track By Tracks: Mindreaper - Withering Shine (...Into Oblivion) (2024)

1. Withering Shine (...Into Oblivion):

Sebastian (lyric): Individual life loses its history in the infinite cosmos of time at the moment when no one remembers it.

Old photos of people long gone, whether known or unknown, inspired thoughts of being and disappearing in the flow of the universe with the realization that the reality of our own existence is simply finite.

Marcel (music): A melancholy introduction with classical guitars in the tradition of Metallica classics such as “Battery” or “Fight Fire With Fire”. The transition is made to equally concise thrash metal riffing in the best era of the Bay Area. A switch to the “Finnish” realms of melodic death metal ala Children of Bodom/Wintersun/Kalmah occurs completely naturally in the bridge and chorus parts. The melancholy of the lyrics is emphasized by epic orchestral strings and sung choirs. With the solo as the climax of the song, all the stops of the highest guitar art are pulled out, even creating a slight Blind Guardian feeling. Despite all the virtuosity, the band remains true to the principle of building a song within a song, as masters like Randy Rhoads and Alexi Laiho have already done.

The title track is an impressive example of the multi-faceted melange into which MINDREAPER has forged its very own style on this album.

2. Liberty’s Fate:

Sebastian (lyric): An impetuous lyric that highlights the love of freedom from the depths of the inner self and emphasizes its absolute supremacy. It thus turns against totalitarianism and those who have established such systems or intend to do so again.

Marcel (music): A very groovy yet melodic death metal song in the best Arch Enemy tradition. The chorus clearly shows influences from the Gothenburg School of old-modern In Flames (Colony, Clayman) or Dark Tranquillity (The Gallery). The eloquent guitar solo marks one of the highlights of the song and pays tribute to genre greats such as Marty Friedman and Dimebag Darrell. A song in the best melodic death/thrash metal guise, which grows into an irresistible growler with its striking riffs.

3. Death T(h)rust:

Sebastian (lyric): In a fictional vision of the future that will hopefully never come to pass, we are told that a type of “active euthanasia” has established itself as a recognized form of assistance and service. People who are no longer capable are indoctrinated to have “trust” in it and to place their last journey in the hands of those carrying it out. This is their final service to their own society. In order to create a consensus about this, a strong “pressure/thrust” is exerted on those affected to take this step at their own discretion. The underlying voluntariness turns out to be an illusion.

Marcel (music): The catchiest number on the album convinces with strong “headbanging riffs” in the intro in the best death/thrash metal style, followed by irresistible melodies that immediately bring to mind the melancholy of bands like Dark Tranquillity or Eternal Tears of Sorrow and will never get out of your head again. The song then turns out to be a driving number with a traditional structure and, with its integrated melody part, is often reminiscent of the classic LP Follow the Reaper by Children of Bodom. A heavy bridge then invites you to mosh ala Meshuggah. The influences of classic hard rock are also particularly evident here. The guitar solo, for example, is unmistakably reminiscent of the legendary Gary Moore, who died far too soon.

4. Nocturnal Animals:

Sebastian (lyric): A hymn to the weakness of the strong when, as beasts of the night, they override their victims to inflict abuse and violence on them. My many years of criminological work in this field inspired me to address this topic lyrically.

Marcel (music): A heavy mid-tempo song with a catchy riff, the basic mood of which is reminiscent of Morgana Lefay (“To Isengard”) in a modern guise. This is a dark transition into a hymn-like melody/refrain part that evokes associations with bands like Bathory in Hammerheart times or old Dimmu Borgir (Enthrone Darkness Triumphant) and always appears serious and threatening. The entire song is impressively accompanied by an atmospheric orchestra. In addition to an acoustic middle section, which would also have suited Black Sabbath with Dio, the harmonically alternating shouts of the two singers (Manuel and Sebastian) are a clear highlight of the album's vocal performance.

5. Desert Trails:

Sebastian (lyric): The paths you have to take together in order to be together and become what you become.

Marcel (music): The main riff is celebrated on the technically demanding level of thrash metal bands such as Megadeth and Testament, while the bridge and chorus mainly pay homage to Swedish bands such as At the Gates and Arch Enemy. The discreet support of the lead guitars underlines the influence of classical music, which is led to an impressive climax by a guitar solo in the best tradition of Ritchie Blackmore (Rainbow, Deep Purple). This finger play is paired with tight yet wild runs on the level of John Petrucci (Dream Theater).

6. Vengeance Dawn:

Sebastian (lyric): The dream of justice for the oppressed through revenge on the tyrants! This song is an explicit warning to them. Humanity will prevail over tyranny in the long run. Dreams of a better reality are a strong motivation for me to become active.

Marcel (music): A classic melodic death metal song ala In Flames in the Whoracle era and Gates of Ishtar with a slight power metal twist, reminiscent of the virtuosity of Symphony X's lead guitars. The dominant melody lines of the bass guitar in the middle section stand out in particular, which don't have to hide behind those of Steve Harris (Iron Maiden) or Cliff Burton (Metallica).

7. Power Plant:

Sebastian (lyric): A metaphorical song about our predetermination and the part of our destiny that we hold in our own hands. For me, this realization has great meaning and evokes the responsibility to be a restless shaper toward the positive self.

Marcel (music): A powerful song with a clear power metal edge in a death metal guise. Musically, it can be seen as a homage to the sadly deceased Alexi Laiho from Children of Bodom in the Hate Crew Deathroll / Are You Dead Yet? - times, which can be seen not only in the impressive guitar work but also in the typical vocal phrasing.

8. The God I Am:

Sebastian (lyric): Every man is his own damn god! I simply can't stand the pleading and whining to higher powers anymore. My free spirit is my kingdom of heaven.

Marcel (music): The work, picks up on the band's more classic death metal roots right at the beginning with a steamroller riff ala Bolt Thrower. An overpowering wall of sound is built up with driving, galloping riffs in order to present the epic scope in the chorus. This serves to perfectly stage the strong lyricism. Once again, the guitar work is often reminiscent of Michael Amott, Alexi Laiho, and Randy Rhoads.

9. Bequest For No One:

Sebastian (lyric): Thematically, this song is about the desire of people and their civilizations to leave something behind and the melancholy of realizing that without a memory of existence, it makes no difference whether you existed at all.

Marcel (music): A powerful song in the typical style of the Gothenburg school (At the Gates, In Flames, Edge of Sanity). Driving drums and fast guitar runs, as well as pumping bass and piercing vocals. After the catchy chorus, riffs come into play that would have fit in perfectly on Burn My Eyes by Machine Head, to merge into an oriental lead ala Amorphis.

10. Black Stone Misery:

Sebastian (lyric): Displacement struggles for housing and living space at the expense of those who can no longer afford this basic right. In particular, the influence of investment companies such as “Black Stone” is dealt with lyrically and the corresponding “misery”, which results from the “profit over people philosophy”, is thematized. As a globally active and expanding company, “Black Stone” is described as a synonym for empires in the context of a metaphor.

Marcel (music): The song with the clearest old-school death metal influences ala Morbid Angel, Dismember, and old Hypocrisy with a lot of blast beats and brutal grooves at the same time. The fretless bass solo towards the end of the song can be seen as a clear highlight, which unfolds a virtuoso as well as obscure effect with its jazzy influence (cf. Obscura). Such finesse is rarely found on this instrument in the underground at the level celebrated here.

11. Final Heaven:

Sebastian (lyric): The regret of being forgotten by those who were once important to you after your death because you did bad things to them or didn't give them the attention they deserved. Hopefully, the reflection on this doesn't start on your deathbed. I'm really afraid of that and it drives me to live my life honestly and with the right priorities.

Marcel (music): The band's most progressive number, whose verses are clearly reminiscent of early Katatonia and Opeth. The alternating growls of the two singers skillfully carry the 7-minute and 9-second-long song. Epic choirs and orchestras impressively underline the lyrical background, while the instrumental faction shows that it has more than done its homework when it comes to arrangements and harmonies. The song really takes you into classical territory, evoking distant memories of old Therion in the death metal style. The end of the album couldn't be better chosen with a stomach-churning breakdown, goosebump-inducing choruses, and impressive vocals. A crowning finale and climax to an opus that is complete in itself.