From Bandcamp, "A FOREST OF STARS are the physical manifestation of what can confidentially be called 'British Black Metal.' "Stack Overflow in Corpse Pile Interface," the grandiose sixth full-length by the band from West Yorkshire is the sonic expression of this distinct and discernible local variant of the genre. "Stack Overflow in Corpse Pile Interface" sends its tendril-like roots deep into British musical soil. In his recitative mode, vocalist Curse is even reminiscent of electro poet Anne Clark – after a steady diet of prescription drugs and rusty nails. Another sonic pillar on which "Stack Overflow in Corpse Pile Interface" stands, is the violin of Katheryne aka Queen of the Ghosts. Her melodies time and time again build beautiful bridges over the dissonant churning of electric guitars as the latter gloriously luxuriate in the chaos they create. On the harsh side of their unique sound, A FOREST OF STARS make use of the full spectrum that both classic heavy and black metal have to offer – with deadly and Progressive moments meticulously slotted into all the right places."

The album has six songs, and "Ascension of the Clowns" is first. This is a peculiar band who definitely do not play by the rules, as evidenced by the violin noted mixed with the filthy Black Metal riff. When the vocal arrive, the awareness of your surroundings is markedly heightened by a thick tension. It almost sounds like he is begging for his life between cries of anger. The contrast between gentle violin and raging vocals with plenty of profanity is stark. The ending sequence is very dark as the band sinks into the shadows of the night. "Street Level Vertigo" is close to twelve minutes. Beginning with more tension, they bend and shift the riffs to their will. It holds steady at first, like a bomb whose long fuse was just lit with fire. Instead of an explosion however, the sound sinks back down to gentle music with angry vocals. Clean female vocals come from seemingly nowhere, and they bring a heavy contrast to the pleas of the harsh vocals.

"Mechanically Separated Logic" begins like a man strolling through the park without anything to do, who doesn't notice the threatening storm clouds looming overhead. "We found ourselves in a battle of wits and processed meats, mechanically separated ideologies, a shield of plastic choking on cheap shots, human shields as if it's even worth wasting a shield on" he hisses. Thick bass notes enter with a dangerous riff, and gentle violin, as the storm clouds darken in anger. The clouds burst with the release of a deluge and hurricane winds, while the violin dances unfettered in the streets. "Roots Circle Usurpers" enters with clean guitars that are tinged with the blues, and I immediately get the image of a house with a porch in the rural south, on an unbearably hot day. The pretty violin notes are the only thing keeping the song from collapsing down into the abyss. Heavy tension follows, and that is one feature that the band totally owns. Serious in nature, it serves as a warning for societal collapse.

The final two songs are quite lengthy. First, is "Sway, Draped in Vague," which is 17 minutes, and has another unassuming entrance with calm and soothing vocals. Just when you think it's safe to come out of your room in the dark however, grand organ notes enter that sound ominous and towering. The horrors begin to build, hairs stand up on the back of your neck, and you are left in total suspension of what may be around the corner. Suddenly, they drop the attack, or at least it seems that way. They are rebuilding and regrouping in the dark however. "Not Drinking Water" is the final song. Violin notes play over a bed of soft rain, and an odd comforting feeling ensues. From there, it feels sad. "Faith in nothing else" he muses. The level of anticipation just dropped off the charts. It was so emotionally charged before that this song feels like the end is near and there is nothing anyone can do about it. That sense of impending doom is gone, and what's left is just the doom itself…a post-apocalyptic society that is full of "could have beens."

The timing of this album is perfect, and it's a total reflection of society today, especially in America. "Stack overflow" is a programming term, and it refers to when too much data or too many loops overload the memory and the system crashes. Combined with "corpse pile," the album title sinks into the grotesque. Adding "interface" at the end, where human and machine merge, the seemingly unrelated words form a dark bond: A monumental collision between technical overload and mortal decay, or an overload of processing in the mind due to repeated horrors. They are masterful wordsmiths and lyricists, and you can feel the album title in your bones. Their brand of Black Metal drips with Progressive elements and sophisticated songwriting, and it's an obvious contender for "Album of the Year."