"Fardeaux" is a French word which roughly translates to "burdens." It's also an Avant-garde Black Metal duo out of Lille, France. They formed in 2019, released a short string of singles (three to be exact) across 2021 and 2022, and then issued their debut album, "The Den Has Become an Abyss," on April 28, 2023 via Drowning In Chaos Records. The album is also the label's debut release, so cheers all around.

"The Den Has Become an Abyss" has a runtime of 45 minutes across seven tracks. The compositions are complex and layered. The lyrics are more prose than verse, reading like fevered nightmares of unblinking introspection and self-judgement. Each track tells the story of inwardly twisting journeys, as the title would imply, carving out an ever-winding labyrinth. The album takes the listener on an experience where they'll meet a soul on the path of "Fomalhaut," watch scenes unfold of people confronting aspects of themselves they would rather not, witness people desperately attempting to escape their past, and even partake in at least one deathbed scene. All of this set to Progressive strains of discordant Black Metal.

The album will appeal to technical musicians, writers and poets of a dark ilk, and drinkers of absinthe. There are no meandering acoustic interludes or intros/outros interlaced with forest sounds. This album is pretty much on the entire time. And when I say 'on,' I mean distorted and discordant riffs paced to the tempo of hellbent blast beats. With that in mind, my pick of standouts include "Le Rituel Du Double," "Declining to Haj-Hjem-H . . . ," and "Siéger Sur Le Trône De La Honte Et Du Mépris" (trans: To sit on the throne of shame and contempt) featuring a solo by Patrick Lebecq (AMETHYSTE).

While I'm inclined to say the album is as dark in intent as it is heavy in delivery, I do have to point out the final track offers an unexpectedly uplighting message-at least in an existentialist way. Here the narrator is conversing with his soon-to-pass grandfather, perhaps hoping for words of solace to ease his deepening loneliness. The grandfather tells him that "loneliness is essential." A hard lesson, that. And then the dying man intones the saving grace-"Aucune importance à te pardonner. Vide ton coeur, fais une place immense" (trans: "It doesn't matter if you forgive yourself. Empty your heart, make a huge place"). Clearly, there's lots of possible interpretations here. In fact, you can take the whole album as one multi-faceted, metaphorical narrative or see each track as a standalone account. However you approach it, it's hard not to see this final sentiment as tying it all up-your heart, your life, your existence is as spacious (and dark and empty) as the abyss . . . and you can stuff it with whatever you like. Your choice.

Altogether, FARDEAUX offers an intricate dance of self-effacement and redemption, delivering on their name as well as the promise of the album title. "The Den Has Become an Abyss" is not for the lightminded, but for those willing to pay the fare of an open mind and an unapologetic appreciation of Extreme Metal, it has its rewards.