CONSTELLATIA is a Blackened Post Metal band from South Africa.  It also features Alison Reachel of HONEYMOAN and singer/songwriter Lucy Kruger. Containing four tracks at a run time of 35 minutes or so, "The Language of Limbs," finds that sweet spot between epic songs without an unnecessarily epic run time.  Some genres, such as Funereal Doom and Prog, often times demand long lengths but not every sub-genre needs it.  As for Post-Metal, as much as I like it, it often becomes too self-indulgent for the style.  I'm glad that CONSTELLATIA doesn't present that problem on this release.

The production holds back the true power of these songs.  A lot of music within the Blackened realm is actually improved by lesser production/mixing values but it doesn't help this album one bit.  These four songs are lush with many layers—it really needed clearer production and better mixing to let all these elements shine.  The guitars especially need to be heard more—often times I can't even be sure they even have a guitar player as things get to muddled.  This not only keeps me from enjoying those layers I talked about, but it really takes the edge off their music.

Production squabbles aside, there is a lot to like here.  The "beauty and the beast," vocal style isn't anything original, but it is well done here because it isn't used constantly, and all parties involved have amazing voices. "All Nights Belong To You," is backed by hyper speed drums that attack with both speed and precision of even the craziest Black Metal bands.  Likewise, the shrieks and screams will be at home for anyone who likes a rawer vocal approach.  The first four minutes are a mix of crazy rhythms and clean keys before the song's mid-point, in which a a more ambient leaning section complete with cleans highlights the dynamics of this project.

"In Acclamation," sets a lighter mood in the song's moment of birth with a very tranquil intro that might fool a random listener that this isn't a Metal band at all.  It is actually very well done and plays off some of the elements from the previous track.  The Blackened roars and shrieks work surprisingly well with the lighter elements.  Just before three-minute mark, the song gets into high gear with crash and fury once again taking the reigns. The last couple of minutes of the song are the best moments where everything comes together, and all the elements get to show what they can do.

"Empyrean," is the shortest track presented and at various points has a prog rock feel to it, especially in the drums.  This is probably the most well-rounded song on the album as it evenly displays both the lighter and more sinister elements the band is capable of playing. The final track, "The Garden," is over eleven minutes in length.  Much like its namesake, it does feature growth within the music.  Everything begins with quiet, hushed tones that grow into passages that gain movement and purpose as the song moves along.  Theatricality and wild energy explodes outward in the song's later moments but it all melds together into a very moving piece.

Ultimately, this is a fine Post-Metal album that is held back by problematic sound issues but those with patients will find a great journey.