Review by Adam M on March 23, 2017.

Without Waves have a varied and interesting sound. They alternate between harsh and quieter tunes on this disc. The style is one of a kind and there is currently no album that sounds like Lunar on the market.

The heavy sections recall Meshuggah and the hardcore genre and are effective at conveying an aggressive tone. The softer sections recall progressive music at its most atmospheric and nicely complement the other tracks overall. It really is these quieter moments that make the disc as good as it is overall. See the mesmerizing Us Against for an example of a more subdued track that is very effective and sounds like A Perfect Circle. It occurs at the perfect point of the album where a change of pace would have been welcome. Overall, this band is impossible to predict and it makes them an interesting outfit. Musically, there are a variety of vocal styles to complement the louder and softer portions of the tracks. The guitars match the mood of the songs as do the drums. The overall mix of the songs varies depending on the tone the band is going for. The hardcore portions mirror djent bands, while the softer sections are more moody and emotional. The production job is solid and complements whichever direction the band wants to go in. The problem with this type of music is that it’s inconsistent and there are moments that are stronger than others present. The album feels like a collage at times rather than a cohesive whole.

This style is style very original and this aspect of the band is portrayed at the forefront. The really fresh and exciting style is one of a kind and breathes fresh air into the metal scene. Without Waves have crafted a solid and varied album with Lunar.

Overall: 7.7 out of 10

Review by Adam M on March 23, 2017.

Without Waves have a varied and interesting sound. They alternate between harsh and quieter tunes on this disc. The style is one of a kind and there is currently no album that sounds like Lunar on the market.

The heavy sections recall Meshuggah and the hardcore genre and are effective at conveying an aggressive tone. The softer sections recall progressive music at its most atmospheric and nicely complement the other tracks overall. It really is these quieter moments that make the disc as good as it is overall. See the mesmerizing Us Against for an example of a more subdued track that is very effective and sounds like A Perfect Circle. It occurs at the perfect point of the album where a change of pace would have been welcome. Overall, this band is impossible to predict and it makes them an interesting outfit. Musically, there are a variety of vocal styles to complement the louder and softer portions of the tracks. The guitars match the mood of the songs as do the drums. The overall mix of the songs varies depending on the tone the band is going for. The hardcore portions mirror djent bands, while the softer sections are more moody and emotional. The production job is solid and complements whichever direction the band wants to go in. The problem with this type of music is that it’s inconsistent and there are moments that are stronger than others present. The album feels like a collage at times rather than a cohesive whole.

This style is style very original and this aspect of the band is portrayed at the forefront. The really fresh and exciting style is one of a kind and breathes fresh air into the metal scene. Without Waves have crafted a solid and varied album with Lunar.

Overall: 7.7 out of 10

Review by Alex on March 23, 2020.

Like the opener 'Dissolve and Release' indicates, Wake with their latest album operates as a conduit of relief, therapy to sedate the suffering. A medicinal if anything sort of album, high concentrates of death metal, erupting from a crust and grind drenched volcanic shell homing a blackened lava that'd coat all with its taint, chasing the light from all corners as time goes by on Devouring Ruin. Uncrowned, yet Wake remains in commitment to their vision since Surrounded by Human Filth and Leeches; maturity is evident, such as is improvement, thus the band climbs to a new level in their journey as another fragment of their image reveals.

Wide mouthed and resonating, delve deep into a chasm of haunting reflections and become one under the shelter of a provoked fear. 'Kana Tevoro (Kania! Kania!)' is what a release sounds like, enraged and energy draining, perhaps the reason you'd feel weary by the time it’s through. Is it the fear of being eaten by an evil spirit or a sorceress? I don't know, I don’t have the lyrics, but fear always finds a way to resurface in our thoughts about whatever. However, 'Kana Tevoro (Kania! Kania!)' does not encourage you to cower before the abhorrent visions, instead take by the horns that which haunts the troubled soul. Death metal would come to the aid, black metal stands close-by, meanwhile the rough and uplifting crust screams triumph through the nightmare of the fed-up victimized.

What exactly is this music, an accumulation of styles if given a thorough listen, not quite easy to pinpoint, hence the incorporated doom metal, sludge, post and black metal sound waves brought into effect on ‘This Abyssal Plain', 'Mouth of Abolition' and 'Torchbearer'. Also, an added depth of heaviness, consistency and connection is applied, contrast to Wake's earlier recordings that were significantly shorter that the current Devouring Ruin, thus the longer tracks have facilitated the band's aspirations to make their music more compact that of a loosely built skeleton of sound. A much-needed step in their catalog to play with more diversity and emotion to give the listener a feeling of being engulfed. 2018's Misery Rites was a step up in song writing, though still displaying the band's custom of 2-3-minute sprinting compositions; now what you'd find is a track the likes of 'Exhumation' progress into other metal territories and tones instead of just stepping over the border rudely.

As mentioned the songs have way more feeling to them compared to past albums, in fact I'd say if listened to without breaks you'd notice a sort of attachment or instrumental romance taking place within songs. Each entry appears connected to the prior due to the cascading musicianship or more specifically the black metal influences woven into the mix. Also, while older albums appeared to be a semi-technical deathcore showcase more than anything, Devouring Ruin is assembled as an excellently amalgamated unit of vacillating harmonics aided by a sonorous vocal exhibition. Hence, with all accounted for on this significantly different record by Wake, one can’t help but notice the movements of Abstracter find a space to work with in contributing to the album's musical texture.

Devouring Ruin is easily Wake's best output as a band active since 2010; 'Mouth of Abolition', 'Torchbearer' and 'The Procession (Death March to Eternity)' are the best songs they have ever written, breaking loose from the almost demo-esque feeling past records exploited. Devouring Ruin should be on many 'best of' year-end lists as either a contender for or THE best of the year. If you were looking for a reason to acquaint yourself with Wake's music then this the album to propel your step into their void of ruination.

Rating: 8.6 out of 10