Artist: Incandescence
Country: Canada
Label: Profound Lore Productions
Formats: LP / CD
Year: 2026
Although ‘Hors Temps’ is best translated to ‘Timeless’, the music of Incandescence is definitely not of that ilk. At least, in the sense that it has been around for a long period of time. This band’s roots go as deep as 2011, but in all honesty, their first material is hardly worth listening to. It is not really bad, but just not very eventful. What that early material does convey, however, is that the band had certain ideas and visions, but were not yet able to let them grow into actual exciting music. That changed a few years ago, with the release of ‘Le Coeur de l’homme’ (Profound Lore Records, 2022). That album can be seen as the first real Incandescence album, where all the pieces of the puzzle fell into place: a modern gem that manages to bring a dazzling mix of Black Metal and Death Metal to thrilling heights.
The band plays with dynamics, rhythm changes, and melodies with playful ease. This is certainly not an old-fashioned affair; fans of Venom and Hellhammer will have to look elsewhere to satisfy their cravings. With that in mind, the term “Timeless” seems a somewhat strange choice. At least, if that is what is meant: whether this album will become a timeless classic remains to be seen, of course.
But, those who were delighted with the 2022 predecessor, will most likely feel the same way about ‘Hors Temps’. Largely, this latest work is a continuation of ‘Le Coeur de l’homme’, with two equally sized portions of the best of modern Black Metal and Death Metal, measured with almost mathematical precision. Yet, there is a “but” in this story…
The impact of ‘Hors Temps’ is much less than the previous album. The musicianship again is impeccable and the songs seem do not follow the trodden paths, yet, it feels a little predictable. So much so that it is difficult to maintain attention for the entire running time, even though at 40 minutes it is not particularly long. Whether this is due to the slightly slicker and therefore flatter production, or simply because the surprise factor has worn off a little, is difficult to say.
It’s impossible to call this a bad album, but I really had to force myself to listen to it a few times and put some words to it. Perhaps it’s best to call it somewhat soulless; the lack of a raw edge is sorely missed. You could even make a case for giving this kind of overly polished Black Metal a completely different name, because it actually has little to do with the genre’s origins. But that’s perhaps a topic for a broader discussion. Fans of the more modern, clean and polished Black/Death Metal, however, would do well to listen to this new album by the Canadians.
