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In the shadows of the universe
Where mysteries unfold
Lies the essence of existence
In stories yet untold
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March is Women’s History Month and, rather appropriately, there are plenty of albums featuring female vocalists releasing right now. The latest is Hermyth’s sophomore effort Aether, which released today, March 7th, through Meuse Music Records. There’s just something about their sound that draws me in, puts me at peace.
Hermyth is a project from Italy’s Nick Magister, and he seems to play all instruments besides drums, which were recorded by guest Alessio Del Ben. The primary vocalist is Therese Tofting, returning from the first album, but there are two guests vocalists, Lucia Amelia Emmanueli and Gogo Melone.
The music here is of the cosmic drone persuasion, a genre I adore but that doesn’t see much activity. Cosmic drone is partially based on the doom sound, being dark melancholy explored through spacious, elongated riffs. But the metallic side of the album exists to serve the ambient, ethereal, shoegazing side, and they exist in spiritual and beautiful harmony.
Like I said, there’s just something about this genre that transfixes me. I know it won’t be everyone’s cup of tea, but I find healing and tranquility within the hovering distortion, the mystical and witchy lyrics, and the burning atmosphere. It’s definitely an album that requires headphones—it just won’t sound the same blasting from speakers. It’s in those quiet moments that the melodies reach your soul, that you become one with the message and the otherworldly energy.
Starseeds from 2022 was a surprise treasure for me; I’ve listened to it countless times and still find solace in its shadow. Aether is similar, though with fewer voiceovers and more guitars. This record has six tracks, and I believe the last three constitute the stronger half. The album simply gets better as it progresses and with each listen.
The first half includes “Heavens” with Lucia on vocals; this piece sounds like something from the first album, featuring some voiceovers and nostalgic guitar licks that hover in a melodic fog. The two singles follow, being “Aether” and “Marigold”, both with Therese on vocals. I really like the former; it feels pensive and purposeful, and its subtle hook gives way to pure ambience and introspection. The latter feels like an extension of the previous track, only more secretive and supernatural.
The second half is nearly flawless for me. “Black Moon Lilith” is a gorgeous, floating piece with Therese on vocals again, and whispers flickering on the edges; I love the quiet drive of the guitars in the second part and how they combine with synth in healing and reserved fashion. The melodies are simple but refreshing. “Divination” comes next and features Gogo Melone on vocals; this piece has such an expressive and tear-jerking tone, and the electricity of the last couple minutes will make you pause and consider.
The closer “The High Priestess” is my favorite overall. This 11-minute track is mostly instrumental; it revels in the soaring and shoegazing guitar moments, and finds power in accepting reality as it is. I love how the song transitions into an ambient, yet somehow still direct piece that drifts in space like the poetry of the galaxies, like the song of the stars. It feels alien and somehow still innately human as the guitars and synth collide, and I find that I never want it to end. I could listen to it for hours. It’ll easily be one of my favorite songs of the year.
Hermyth are back and they do not disappoint. For fans of ISON and the cosmic drone genre, this is a gem that you need to hear. For those that appreciate music full of light and empathy, this might be your first foray into a new world.
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In the stillness of the aether
A realm where dreams take flight
In the thrust of endless motion
We glimpse infinite light
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Find Hermyth online:
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The PROG Mind 