Onyx
Onyx makes Ava Inferi slightly more direct without losing their sombre atmosphere. Guitars still have plenty of space, and the songs take their time. Carmen Simões gives the music an identifiable centre through her clean singing. She can sound large and theatrical, but also uses quieter lines that sit more comfortably among the instruments.
The title track establishes a dark tone with firm guitars and a solemn melody. Its arrangement is carefully handled without constantly needing new layers. The group gain much from moving between heavier riffs and softer, more spacious guitar work. This allows air to remain in the music.
The Living End makes good use of another voice. Rune Eriksen's low singing gives Simões a clear counterweight. Simple percussion and echoing guitars keep the backing easy to follow. That suits the song: most tension comes from the relationship between the voices.
((Ghostlights)) shows how strong the band can be with a sparser approach. Space between the parts helps the atmosphere instead of making the piece feel empty. Closing track Venice (in Fog) instead uses several mournful guitar lines around the vocals. The result is a convincing ending that captures the album's melancholy well.
Slow development does not work equally well throughout. A Portal relies too much on repetition, and attention sometimes drifts in the middle section. Not every song has an immediately memorable melody either. Onyx still offers more than a succession of gloomy sounds. The strong voice, subtle guitars and best arrangements give it personality. Ava Inferi are especially convincing when the music retains space and lets tension emerge from small differences. That is where this slow album finds its clearest strength, rather than in an attempt to make every moment sound larger.
