From their record label, “DOEDSMAGHIRD is the new project from Yusaf “Vicotnik” Parvez, the mind behind longstanding leaders of the Norwegian metal scene and esteemed French multi-instrumentalist guitarist Camille Giradeau. The debut album “Omniverse Consciousness” is out now. Speaking about the new project, Yusaf said: A concept of universal awareness that transcends the present individual experience and connect the dots across multiple timelines and dimension. Consciousness is like nodes within a vast, interconnected web, where the black medium current serves a conduit for information exchange. Within this singularity, all path leads inward, and the concept of time ceases to exist. Every possible timeline, past and future converge into the enigmatic state of the omniverse consciousness. Palpable as a whispered secret, we present this intersection of experiences and outcomes. Symbolizing the unattainable potential that never was but is. This emergence through conflict and synergy shaped from the original entities involved. A transformation and innovation where two points in time merge into a point in the middle…”

“Heart of Hell” is first. It’s a unique sound, that is for sure. Probably Black Metal at its core, but there are several other elements present, including electronics, keyboards, and piano. Some subtle Progressive elements are intermixed, and like IHSAHN, it is a twisted array of many genres. They even work in some melody in the latter half of the song. “Sparker Inn Apne Dorer” is another trip down the rabbit hole into Alice in Wonderland’s world. Much of this song seems to exist on the borders of your consciousness rather than something you can easily grasp. The vocals and drums tell you it’s Black Metal, but the others stirring the pot suggest something else. It’s as strange as it is uncommon. “Then, to Darkness Return” is more straightforward Black Metal, but they still bend and twist it out of bounds. It’s almost as if borders don’t exist in their world.

“Endless Distance” bubbles with a lot of tension, nearly reaching a boiling point. But even amidst the self-induced madness, there are melodies. They are mostly solemn, but they are there. The constant buzz of electronica in the background transports the song into the future. “Endeavor” is a short piano led song that is a blast of solemn melody. It’s so far outside, it almost sounds like it doesn’t even belong on the album. “Death of Time” is very aggressive, but the band doesn’t abandon the obscure elements that make the album unique…they play with meter shifts, ominous tones, passages of frightening vocals, dissonant melodies, and even a sense of grandeur. “Adrift Into Collapse” continues the mad hatter’s contorted alchemy. The song passes through space and time, stopping at every corner to smell the flowers, bit also to kill things at will. “Requiem Transiens” closes the album, and it reminds me of the beauty of a wedding that is spoiled once you realize the bride and groom are rotting undead.

In its raw essence, this album is Black Metal, but it’s far from orthodox. At its core, you get the shrieking, tortured vocals and the frostbitten riffs that are signature to the genre, but those elements quickly warp into something more monstrous, something grotesque. It's a twisted abomination of sound—blackened at the roots but sprawling into nightmarish hybrids. Drums blast away relentlessly, but underneath, synths ooze like an alien presence, shifting the mood from raw aggression to something more unsettling and unnatural. The use of orchestration adds a perverse grandeur to the violence, like a symphony of decay. The result is an album that transcends black metal tropes, turning into an abomination of genres, styles, and emotions, both monstrous and mesmerizing.