From Bandcamp, "Without a chance to perform live and their personal lives also being affected by many restrictions, the focus of DISILLUSION shifted fully towards their band and the creation of new songs and the recording of their fourth full-length, "Ayam." Founded around singer and guitarist Andy Schmidt in the East Germany city of Zwickau in 1994, DISILLUSION pulled the rare trick of already becoming a staple in the field of Avant-Garde Melodic Death Metal. "Ayam" offers exciting evolution rather than radical revolution, and DISILLUSION's new musical forms and means are most beautiful and astonishing to behold." The album contains eight songs.

"Am Abgrund" is the first. Following some tense opening tones, the bombastic sound hits you with a gargantuan punch and surrounds you. Symphonic elements combine with a massively heavy riff and harsh vocals. The tension in the air is so thick, you could cut it with a machete. The three-pronged guitar assault is very evident in the sound, and the anger reigns down with a thousand fists. After the half-way mark, it takes a charming and ambient turn. The leads are fantastic. "Tormento" is another song with a lot of tension in the air. Clean vocals combine with harsh ones, as the song rides the fence in and out of beautiful and aggressive passages.

"Driftwood" features smooth and melancholy tones, with strings and clean vocals. Drifting off in a small boat into the great sea, you just lean back and close your eyes as the waves take you further and further out. "Abide the Storm" has a grandiose sound in both the rugged guitar work, harsh vocals, and backing symphonic elements. They are released in the chorus in favor of a charming, melancholy sound. It takes a slow transition to more delicate tones in the second half of the song, before a marvelous ending of beautiful and soulful lead guitar breaks. "Longhope" is another smooth and mellow offering with emotive clean vocals. It's a welcomed pause of some of the previous power, and it builds through the end with a touch of rage in the harsh vocals. "Nine Days" has a serene and polished sound, with tranquil melodies and poignant clean vocals. Tension hangs in the air again with anger like a cold wind blasting on an otherwise warm day. It culminates in a crescendo of sound for the final two minutes with every element clicking together in synergy. "From the Embers" begins with a slow build to a monumentally packed sound before backing off to sweeter tones. The harsh tones are as ardent as fire but the melancholy tones sing coyly to your soul.

"The Brook" closes the album. Soft tones open the song. I swear that I have heard that sweet melody before. It swells with darkness and power and you are forced to just ride out the storm. Thunder claps, lightning strikes, and rain drives down hard on your head. Look up though...and there is a break in the sky, as gorgeous light comes shining through. Take a long look at the album cover for what lies within. Various shades of storm clouds surround the image...benevolent whites, dubious greys, and torrid darkened ones. But in the center the storm rages with black clouds of death. You will get vicious bites on the album, but also beautiful moments of study melodies. All in all, it's a glorious and grandiose slice of Progressive Metal that you can't afford not to listen to.