Le Temps Detruit Tout from progressive metal North Carolina band The Reticent is one of those releases which does everything right, bringing fine invention, imagination, and thought to its impressive sounds. The only thing it is without is a lasting and memorable presence to remain once its emotive atmospheres have drifted away. This applies to the album as a whole but also to the individual tracks. It is hard to remember what you have just heard within mere moments of its passing except for the final track which is a cover of the REM track Losing My Religion. Whilst in their presence though the songs are superbly crafted and presented. They are unique whilst being familiar suggesting originality is not the over whelming breath of the release and it is fair to say the album is heavily influenced by the likes of Opeth, Porcupine Tree, A Perfect Circle and Tool but it is near impossible to criticise its intelligent creativity and passion.
The Reticent is the solo project of Chris “Mordrid” Hathcock, known for his work with The Torture Cell and Werhwolfe (who he still drums for). The project began in 2002 under the name The Seventh Circle before Hathcock renamed it and was born with the aim of bringing a coping mechanism for its creator using music to relinquish personal pain and give an expression to its release. The heart and sounds within are focused intensely on sadness and all its accompanying playmates and finds their author exploring these and his boundaries with an enveloping cloud of melancholic energy, especially on the new album.
Le Temps Detruit Tout is the successor to acclaimed second album Amor Mortem Mei Erit and builds on its deeply impressive work and expression. Like its predecessor the new album is released through Heaven and Hell Records and is sure to command great attention and response to its impressive wares. No one should immediately think the album is deeply flawed or not worth a visit from the words here as that is far from the reality of the release, it just frustrates somewhat that nothing truly stays with the ear and heart after it makes its leave.
From the pulsating and striking intro Nihil, the album wraps the ear with the melodic splendour of In Pursuit Of Redemption. Hathcock with guitar and voice is immediately mesmeric and entrancing as the track slowly weaves its charms across the senses. As the song lifts its energy that hypnotic element is transformed into a harder intensity within still overall a smooth approach. Vocally Hathcock has a definite Maynard Keenan feel so it is no surprise the frequent comparisons though in sound too there is a definite inspiration from his bands.
The following Mutually Assured Destruction is a darker and feistier track though the ambient emotive air is always the consistent essence. Arguably the best track on the album the song leaves one verging on breathlessness and fully connected with its underlying sadness and melancholy but again as soon as the album moves on it is a struggle to remember defined elements from it. It is almost an achievement to give so much pleasure at the time without finding any lingering hold though maybe not the one intended.
As Le Temps Detruit Tout progresses the likes of Enemy, the excellent and rhythmically captivating Patience, plus the a cappella With Folded Arms, a song which is a slow burn of pleasure and grows as it plays for a full captivation, inspire much pleasure and respect for the creativity and imagination let alone the songwriting and craft of the artist. Occasionally there were times where puzzlement rose as with Nihil Ex Nihilo. The song samples a scientific lecture come address about the universe and the impending demise of the sun and earth in our future but fails to combine word and music in a seamless and engaging bond.
Le Temps Detruit Tout though is an impressive and enjoyable album full of immense skill and thought and will please most who find progressive and emotional sounds enthralling. It just leaves one wondering why for all the fine work there is not a longer lasting impression.