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Sonisk Blodbad: The Shores Of Oblivion
 The Shores of Oblivion was released in late April and is the latest album from Bergen based electronica act Sonisk Blodbad, a project led by Ole Christensen.
As someone who isn’t a massive fan of electronic music I can see both the good and bad in an album like this one. On one hand tracks like the Suicide influenced ‘Alan Vega 2.0’ or the dreamy pink-floyd-esque title track ‘The Shores of Oblivion’ captivate me through their creativity, and via veiled stylistic references to bands that are more familiar to my ears. On the other hand, a track such as "Photons" is too close to electronic dance music for my taste, and a track like "Aspik" is at the most sparse and mundane end of the electronic music spectrum imaginable.
I’m sure The Shores of Oblivion is a quality release for what it is, but unfortunately this is not a style of music I find to be overly rewarding to listen to.
Track Listing
- Sonisk Blodbad 4
- Alan Vega 2.0
- Photons
- The Shores of Oblivion
- Dark Clouds Passing By
- An Echo in the Dungeon of My Heart
- Aspik
- Blue Triptych (CD Bonus Track)
Added: September 5th 2022
Reviewer: Chris Reid
Score:  
Related Link: Band @ Soundcloud
Hits: 793
Language: english
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Sonisk Blodbad: The Shores Of Oblivion
Posted by Steven Reid, SoT Staff Writer on 2022-09-05 21:03:05
My Score:
An electronic journey of quite some proportions, The Shores Of Oblivion hits almost like a (near) wordless concept album, with much of the sound created arriving like looped storytelling rather than anything approaching ‘songs’. That said, as much of the more beat driven fare on tracks like “Alan Vega 2.0” plays out so things head into a dance-like arena that might not sit all too comfortably with anyone of a more rock, prog or jazz leaning. Being varied is undoubtedly high on the agenda here.
Featuring Ole Christensen (Big Robot, Endoplasmic Flow), Håvard Tveito (Vetter, Against The Grain), Steven Cerio (Atlantic Drone) and Sanna Saarinen (Big Robot), this Norwegian collective seem to utilise a further plethora of contributors across this eight track, seventy minute-plus offering, something which possibly helps explain how diverse the mood, atmosphere and execution can be. In sharp contrast to the more dance like moments, the title track is moody, atmospheric and remarkably organic for an electronic piece of music. “An Echo In The Dungeon Of My Heart”, which features plaintive and at times off-kilter vocals, is equally beautiful and unsettling. However, if there’s an issue it’s that for long spells proceedings are so understated that the uptempo outbursts don’t really feel like they belong, whereas those longer scene setting sections can come across as a little over used.
Sonisk Blodbath undoubtedly know how to create interesting and inquisitive music, but whether the sum is as great as its parts I’m not so sure. Personally I need music to be a little more eventful than what’s laid out here, even if it’s difficult to criticise what this band has to say.
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