Loss Of Self first garnered attention following the release of their eponymous 2012 demo. With much acclaim following their unique take on the modern trend of positive sounding black metal, it was no surprise that genre label The Flenser saw potential in the lo-fi three-track effort. Now, with Twelve Minutes, the Melbourne-based outfit have set out a record that doesn’t disappoint, even managing to surpass any previously held expectations for what would fill out a full release, especially following the distinctiveness of the original demo. This success is aided in part by the numerous strong melodic ideas, which work to show off the unmistakable sincerity and eagerness that continually resound throughout this solid debut.
The use of strong composition and nuanced song writing is indeed not in any short supply. Clearly a lot of effort has been put into the overall album structure, with sections of severe dissonance resolved by what are some truly uplifting melodic moments. It’s this relationship that permeates throughout, with almost ‘catchy’, sanguine guitar motifs providing the perfect support to the darker swirls of black intensity.
“Isolt” seems to typify the writing approach taken by the band in this regard, providing the perfect thematic introduction of the melodic motifs in its introductory riff. This also works by serving as the second (and standout) track of the record - where it perfectly complements the apparent chaos of antecedent “Paradise Overgrown.”
The bass lines are also consistently well written, taking on melodic roles at a number of points, serving as a fleeting yet powerful emotional injection, especially after sections of particular heaviness. The introduction of “The Inheritance,” for example, swells with a certain joyful lethargy, that is led along by the strength of the affecting bass guitar motif alone.
The ambitious composition can prove to be a downfall at certain points however, with a number of ideas coming across at times half-formed or even incomplete (such as the abrupt and unannounced ending of the closing track “Seidlitz”). Wether an intentional decision or not, I couldn’t help feeling that it was a strange way to close the ideas built up over the half-hour odd journey preceding. Similarly, the transition between tracks can be rough, and goes against what appears to be a conscious effort to create a unifying theme rather than a collection of disparate elements. This is also evident in the remastered versions of the final three demo tracks, which probably could have been recorded from scratch to better fit the production of the others.
With moments of greatness throughout, Loss of Self has few underlying issues on what is undoubtedly a fantastic debut. ‘Twelve Minutes’ maintains a connection with a sense of real ardour – an element built up from the clever composition and a strong melodic presence. These are characteristics of the style Loss Of Self are striving towards, and it seems that from this release they are very much achieving it.
