Review by J.C. on January 8, 2026.

The doom death metal band Vin De Mia Trix from Ukraine recently released a new album. I have listened to their previous two albums before and felt they were pretty good, so I went ahead and purchased the digital album. After listening, I wrote this.

The album still focuses on long tracks, but they are not as lengthy as the last album (four songs add up to less than 50 minutes). Similar to the Finnish doom death metal band Hooded Menace's new album this year, the band experimented with complex song structures and the connection of segments with different auditory feelings. The recording quality is very good, the mix has rich layers, the electric guitar's tone is heavy, and its detail is abundant. The bass is clear and noticeable, even taking the lead in some parts, such as several progressive rock segments in the second track. The drums are solid, with fast sections becoming rapid, as is typical in most doom death metal albums. The vocals are diverse, with the band using different vocal styles for various sections. The song tempos are mostly slow, with a melodic funeral doom style, though there are a few fast chug-style passages.

The first track, 'Exit Glacier,' revolves around a sad and simple slow riff, interspersed with other segments, and at last, down-tuned guitars and rigid riffs make the music more brutal. The vocal delivery varies, starting with death growls, followed by clean choral parts, and finally turning into black metal shrieks. The following track, 'Ferrissian Void', incorporates more progressive elements, beginning with a post-rock style sweep picking segment, then transforming into a rock section, and only after a while do distorted guitars appear. Although the song can also be classified as doom metal, it contains many dissonant intervals. The vocals remain extremely varied.

Entering the latter half of the album, the third track, 'Automonument (Ferrissian Void Epilogue),' is slightly shorter, opening with a My Dying Bride-style elegiac dual guitar melody. After a minute and a half, it transitions to a heaviness reminiscent of Novembers Doom’s first album. Unexpectedly, the song then shifts toward vintage traditional doom metal, with the vocalist sometimes using a style akin to traditional/epic doom and sometimes death growls. There is a moment when the tempo suddenly speeds up, reminiscent of some Finnish traditional doom metal songs. The track ends with the guitar gradually drawn out into a droning effect. Then comes the final track, 'The Arnheim Domain,' which starts with a post-black-metal-like intro. Following heavy guitars are slow and heavy, sometimes like Evoken-style funeral doom and other times like Draconian-style gothic doom metal, but with more dissonant intervals. Five minutes in, there is an Opeth-style acoustic guitar section. After a chaotic wall of noise comes a Disembowelment-style fast black/death section with brutal growled vocals, but this aggression does not last long, transitioning into a Swallow The Sun-style mid-tempo melodic doom with clean vocals, then slowing down in a manner similar to Saturnus, and finally ending with a tempo increase and fading out.

Since it has been many years since I listened to their last album, I can’t recall specific details of it, but I can still notice significant differences between this album and the one before. The band maintains its distinctive style while also experimenting with new elements. It may not be a perfect album, but the band fully showcases their abilities and delivers surprises to listeners. Overall, this is an album I would recommend to all doom metal fans.

Rating: 8.6 out of 10