The mood must be right for certain albums. For example, doom pieces aren’t sitting well with the RMR crew in the midst of spring. That’s the time of year when even the Review Desk’s grouches feel the need to descend from their moldy abode and enjoy some chirpy fresh air in bright sunlight. Outside, of all things. Abject soulsearching may not be a prime occupation right then.
Doomy, heavy, avant-garde, and mostly non-metal fare fits better once summer has left the building. That’s when the cold ‘n’ grey seeps in and the mists take over. One could argue that February, when Phendrana released their piece, is perfect for a teary melancholy piece. But not so.
The early months of any year for a webzine like ours are used to build momentum again after the annual Top 10 craze. For a predominantly metal webzine, this means more brutality and less mellowness. But after a few gruelling months of abject gurgling and daemon infestation, some quieter tones are in order. So, let’s employ some Cathexis1 for a change. This metal brain needs some housecleaning.
And the RMR crew found itself yet again a genre-shifting act. From softly meandering classical and almost cinematic tunes, thoughtful monologues, and mystical themes, to harsh Atmospheric Black Metal, Phendrana covers the spectrum. But most of it is writ large on the canvas usually occupied by modern Progressive and Avant-Garde Metal and the old, immortal masters of prog rock. In other words, for long stretches you get a style that often oscillates somewhere in between Ember Belladonna, Opeth, the pig-headed woolgathering of the conflicted Todtgelichter, and good ol’ Jethro Tull. Put differently, the band around Anuar Salum seemed to favor a reincarnation of Genesis’ flowery meanderings with benefits. But this time, everything is firmly anchored in the contemporary underground. The sudden bouts of raw ‘n’ gritty Extreme Metal for sure feel like a welcome change, breaking up the usual woozy fare. Just to show that Cathexis ain’t devoid of bite.
But Salum‘s knack for creating intricate and textured soundscapes really left us in awe more than once. Like a cat on a hot tin roof, Cathexis never stays in one spot for very long and dazzles the listener with an ever-changing and pretty convincing songsmithery. Now, apart from all that often atmospheric hullabaloo, the quieter parts are filled with some unplugged glory. Instruments such as the haunted saxophone, the piano, or – again – perfectly plugged parts brought about by the acoustic guitar, offer an important counterweight to the harsher parts. Thoughts and prayers of the Post Black era, seconded by one Ana Bitrán. Her extremely well-placed, gothically-tainted monologues and somewhat easygoing, clear voice parts play an important role in spicing this somewhat convoluted fare up a bit more.
In the end, Cathexis proved to be much more than what it quietly announced at the outset. The RMR crew found a complex record full of proficiently elaborated twists and turns. A reflective piece of contradictions that matches the labyrinthian songwriting with an almost perfect production. More importantly, Anuar Salum is the sole master of the disaster over at Phendrana. Meaning, everything stands and falls with his very own musical prowess. Few standalone artists in contemporary music can finish a production at such remarkable quality. And Salum is one of them. His use of guest musicians for certain parts of the album, such as Daniel Droste of Ahab, only reinforces the sense of savoir-faire this record so abundantly exudes.
Cool record.
Record Rating: 7/10 | Label: Self-Released | Web: Official Band Site
Release Date: 6 February 2026
- Difficult definition. Merriam-Webster sez ‘investment of mental or emotional energy in a person, object, or idea’ whereas others link it to libido. Libido and objects? Thoughts of the name-changing maniac JD and miscellaneous couches start to infect my mind. Loki help me. -Ed.-↩