I’ve been sitting with Hiraeth for a few days now, and I still don’t think I’ve fully wrapped my head around it. It came out February 20 through M-Theory Audio, and it’s their second full-length — but it doesn’t feel like a band trying to “level up.” It feels like a band that’s been obsessing over details for years and finally decided, “Okay. This is it.”
First impression? Dense. Not overwhelming, but dense. There’s a lot happening almost all the time.
“Axis” opens the record and within a minute you can tell this isn’t just another tech-death barrage. The bass is weirdly confident — not flashy, just… present. It carries parts of the song instead of hiding underneath the guitars. Then the clean vocals show up earlier than I expected. That moment actually caught me off guard the first time. I wasn’t sure if I liked it. Second listen? It made more sense. It sets up that whole internal struggle vibe the album seems to circle around.
“Languish” hits harder. More immediate. The feature from Chaney Crabb works because she doesn’t soften anything — she sharpens it. The second half kind of twists in uncomfortable ways rhythmically. I had to replay that section because I thought I lost the beat. Turns out, no — they just bent it.
“Sirens” is one of those tracks that keeps shifting under your feet. Not in a chaotic way, more like it refuses to settle. And “To Quench This Insatiable Thirst” moves fast, but not in a blast-beat endurance-test way. It’s more about momentum than speed.
Somewhere around the middle of the album, I realized something: this band likes tension more than release. They build. They layer. Sometimes they hold back the obvious payoff. That can be frustrating if you want clean resolutions. But it also keeps things interesting.
“Requiem” almost feels restrained at first. Almost. There’s a simplicity there that doesn’t last long. “The Barren Grave of God” is heavier emotionally than musically, if that makes sense. It lingers more than it crushes.
And the closer, “The Utter End,” doesn’t explode. It sort of sinks — in a controlled way. The opening clean tones feel reflective, almost tired. By the time it builds up, you’re not getting triumph. You’re getting something closer to acceptance.
Production-wise, I’m glad they didn’t over-polish it. Everything’s clear, but not plastic. You can hear the bass runs. The keys add atmosphere without turning it into prog wallpaper. Drums are tight but not robotic.
The clean vs. harsh vocal switch — that’s going to divide people. Sometimes it lands perfectly. A couple transitions still feel abrupt to me. But I’d rather have that risk than a completely safe record.
It’s not an easy album. It asks you to pay attention. First listen felt impressive. Second listen felt smarter. Third listen felt more emotional than I expected.
Is it perfect? No. Some sections could breathe more. A few ideas feel like they almost compete with each other. But I respect the hell out of it for not simplifying itself.
After more than a decade as a band, this doesn’t feel like they’re chasing trends. It feels like they’re chasing something internal. And honestly, that makes it more interesting than most hyper-technical releases that come and go.
https://www.instagram.com/abstractedbr
Thanks to Grand Sounds PR.
