From Bandcamp, “Unsurprisingly, considering the band's acclaimed body of work to date, this is no run-of-the-mill Tech-Death album. The talented duo of guitarist and engineer Norbert Müller and vocalist, guitarist, and composer Florian Engelke have outdone themselves again on “Ontology of Nought.” Epic-length tracks ranging from 10 to 18 minutes fuse into a cohesive whole that awes with the band's characteristic technical flare and progressive, compositional brilliance. The impressive cast of session and guest musicians adds even more vibrancy.”

“Uncreation’s whirring loom you ply with crippled fingers” is the first song, and there is a long, quiet, and suspenseful entrance. Spoken words, in French I believe, begin to enter, followed by the explosion of a bomb. The sound that follows is both dissonant and chaotic. There is just a little bit of structure, but it is hard to follow. Like the song title, much of the sound is shrouded in mystery, darkness, and death. “To weave the tapestry of nought” is longest on the album, clocking in at just under 19 minutes. It’s another chaotic sound, with a flurry of drum strikes, harsh vocals, and a loose structure that is all over the place. Just when you think you might have the groove down, they change it, ensuring a sharp and angled listening experience that is difficult for even a seasoned reviewer to tackle. There are however some moments of levity amidst the madness.

“The blossoms of your tomorrow shall unfold in my heart” has some Jazzy tones, and one can see the connection between ardent Death Metal and the free flow of Jazz music. The combination is fascinating, and if you concentrate too hard, you can easily be swept away into the abyss. “Lest I should perish with travel, effete and weary, as my knees refuse to bear me thither,” by contrast, has harmonized vocals that drip with a heavy emotional burden. It also has a little more structure, and shows the more pensive side of the band. Soon enough, however, it begins to descend back to madness. It teeters on the edge of pretentiousness at times, but what Progressive song wouldn’t?

The final song is divided into three movements, although like much of the album, it’s hard to discern where the divisions are. The song begins with piano notes before a quick return to utter, punishing chaos. From there, the tradeoff between chaos and levity is noteworthy, and the story shifts like the mind of a person suffering from dementia. Like a bot fly burying itself into its host and taking control, this album will sink in and take control. On some lever, you have to concede that these guys are geniuses, or at the very least, mad scientists. The music is difficult to digest, and is about as loose as anything that I have heard this year. But the structures are quite complex, and it’s an album that all Metalheads should hear at least once.