"For more than fifty minutes, ONRUST exposes the listener to powerlessness and revulsion. Revulsion at a world that keeps descending further into hate, selfishness, bitterness and inequality. "And that's where the tragic irony lies," explains vocalist Ruben Podevyn. "Because those who constantly voice criticism of everything around them eventually become bitter themselves. And therefore, part of the very problem." "Van Woede tot Wanhoop" is ONRUST in all its intensity. Don't expect an easy listening experience, expect one that lingers long after."

The album has eight songs, and "Anhedonie" is first. It's bold, dark, and daring, as harrowing tones come forth from the guitars. The main riff is steady, the vocals are filthy, and eerie tones abound. The slow pace really helps the blackness to sink in. It backs off just a bit around the halfway mark, but the hairs on the back of your neck are still alive. "Zwart Klimaat" is equally as filthy, although there is a distinct groove to the song that moves the listener. Black groove? Why not? Following the deep groove, there is a slowed down and gentle passage where somber tones abound. In keeping with the themes, it practically defines the vulgar word "revulsion."

"Panisch" is a much smoother ride at first, but the skies are still grey and dreary from the storm. The clean vocals reflect the nothingness he feels, but the harsh vocals rage with anger and the towering riffs drop like meteors from the sky. "Toekomstdrang" begins with drums, and has a faster moving pace. Like GOJIRA, the main riff is sterile, and much of the feelings in the song comes from the short lead guitar notes. I feel like I am being chased, and no matter how fast I run, he keeps gaining, and I can smell his hot breath on my neck. "Wanhoop" has a crushing riff and so much darkness, it feels like you are lost in a cave. It slows to hopeless tones, and they are equally as crushing.

"Zelfdestructie" has a hollow opening, and it's designed to make you feel empty. At the same time, at least you feel something. Both the anger and the despondence feel equally as bad, and that makes sense. "De Kou" has darker leanings, and the opening guitar work almost sounds out of tune. The tones that follow are dreadfully weighted, so much so, it seems to announce the end of the world. Following a brief pause passage, the disastrous sound returns with a vengeance. "Zielepoot" closes the album, and it leaves you swelling with emotion and dead inside at the same time. Much of the album is cold and sterile, and that keeps within the themes the band discusses. But the music is also emotional and can clearly be felt. It feels dirty, and uncomfortable, even going so far as to call it repulsive. Indeed, it was not meant for an easy listen.