{"id":48491,"date":"2025-09-07T03:39:07","date_gmt":"2025-09-07T03:39:07","guid":{"rendered":"https:\/\/www.europesays.com\/ie\/48491\/"},"modified":"2025-09-07T03:39:07","modified_gmt":"2025-09-07T03:39:07","slug":"nailed-to-obscurity-generation-of-the-void-review","status":"publish","type":"post","link":"https:\/\/www.europesays.com\/ie\/48491\/","title":{"rendered":"Nailed to Obscurity – Generation of the Void Review"},"content":{"rendered":"

\"\"As I settle further into my staff position here at AMG headquarters I still feel a slight trepidation when grabbing a promo tagged \u201cwaived seniority.\u201d With Nailed to Obscurity<\/strong>\u2019s fifth long-player, Generation of the Void, however, such is the case, and for reasons we don\u2019t discuss with fans, it has fallen to me to pick up where our hairy overlord, Steel<\/strong>, left off. His rave review of Nailed<\/strong>\u2019s 2017 album King Delusion took the act from obscurity to notoriety and, in so doing, landed a spot on his top ten that year. While slightly less enamored with 2019\u2019s Black Frost, it\u2019s clear from that reading Steel<\/strong> still harbored quite a bit of love for this German quintet, which not only raises the stakes for Generation of the Void, but for me as well. Curtailing my excitement, I can only hope to do the ape proud by not doing what Chris Farley did to his pet sale in Tommy Boy<\/a>, the \u2018sale\u2019 played here by my review. Will Generation of the Void have you breaking out your Sadboi twin power rings, ready to activate? Shape of a box of tissues? Form of a river of tears? Let\u2019s dig in and find out.<\/p>\n

Generation of the Void finds Nailed to Obscurity<\/strong> further down the path of Opeth<\/strong>ic progressivism they established on Black Frost. Accomplished through a heightened emphasis on post-metal atmospheres, ear-forward synth-work, and Raimund Ennenga\u2019s clean vocals, which vibe muchly with Ghost<\/strong>\u2019s Tobias Forge, and occupy as much or more of the spotlight as his more compelling Mikael \u00c5kerfeldtian growls. Jan-Ole Lamberti\u2019s and Volker Dieken\u2019s guitar work, albeit less deathly doomed, is full of effectively executed melodic solos, post-metallically strummed chords, cleanly picked leads, and Leprous<\/strong>-esque, prog-stuttery riff patterns (\u201cEcho Attempt,\u201d \u201d The Ides of Life\u201d). Jann Hillrichs\u2019 drumming continues to hold its own, sans overt technicality, by remaining chest-crushingly powerful, and alongside the work of newly added bassist Lutz Neemann, holds down a low end that adds depth to Nailed<\/strong>\u2019s overall lighter, more reserved sound. Miles away from the deathlier King Delusion, the shift in direction Generation of the Void represents will be the fulcrum on which the remainder of Nailed to Obscurity<\/strong>\u2019s career teeters.<\/p>\n

\ufeffGeneration Of The Void by Nailed To Obscurity<\/a><\/p>\n

While most of the decisions Nailed<\/strong> made didn\u2019t resonate with me on Generation of the Void, the opening triptych of songs sets a very positive tone. A satisfying tug-of-war between heavy and light, \u201cLiquid Mourning\u201d\u2018s pensive chords and haunting leads marry well with Ennenga\u2019s improved cleans, while the catchy, growled chorus roars over weighty death riffs. This track bookended well by the driving riffs, impassioned leads, and melodic solo of opener \u201cGlass Bleeding\u201d and the heavily melodic, death-doomy delight that is \u201cOvercast,\u201d which throws the longest shadow over the Nailed to Obscurity<\/strong> of olde by exclusively featuring Ennenga\u2019s excellent growls. These three tracks serve as a red herring and a shepherd through Generation of the Void\u2019s gate into realms I have dubbed Nailed to Obscurity<\/strong> lite.<\/p>\n

\"\"
While I appreciate Nailed to Obscurity<\/strong>\u2019s attempt to push their own boundaries, the overly poppy, \u2018Woooaaahhh-Ohhhh\u2019 hooks of \u201cSpirit Corrosion\u201d\u2018s chorus signal a crack in Generation\u2019s engageability, departing from the previously set stage. A tone that continues through the cleanly crooned title track to the overly bloated eight-plus-minute \u201cEcho Attempt,\u201d full of soft synths, Leprous<\/strong>-y riffs, and brief flirtation with growls, then onto Generation\u2019s ballad \u201cAllure,\u201d with its Ghost<\/strong>ly cleans, marshmallowy keys and delicately plucked chords. This section of Generation lulled me into a near-sleep state, finding me checking the clock, only to realize I had nearly fifteen of Generation\u2019s fifty-five-minute runtime left to go. Luckily for me, \u201cClouded Frame\u201d came crashing in to awaken me, the last real bright spot of the album. It\u2019s moody riffs, impassioned cleans, brutally catchy growled choruses, and final, triumphantly roared scream rank as my favorite track.<\/p>\n

There will be as many who bemoan Nailed in Obscurity<\/strong>\u2019s newest direction as there will be those who applaud it. For me, mostly dogless in the fight outside of this writing, I can objectively gauge the quality inherent to Generation of the Void, despite my primarily subjective apathy. There are a handful of songs here that I will return to, but there\u2019s more that I won\u2019t worry about listening to again. What Nailed to Obscurity<\/strong> chooses to do on the heels of Generation of the Void will certainly bear hearing, and I\u2019ll be interested enough to keep my ears peeled.<\/p>\n

Rating<\/strong>: 3.0\/5.0
DR<\/strong>: 7 | Format Reviewed<\/strong>: 320kbps mp3
Label<\/strong>: Nuclear Blast Records<\/a>
Websites<\/strong>: Bandcamp<\/a> | Facebook<\/a>
Releases Worldwide<\/strong>: September 5th, 2025<\/p>\n

\n\tGive in to Your Anger:<\/p>\n","protected":false},"excerpt":{"rendered":"As I settle further into my staff position here at AMG headquarters I still feel a slight trepidation…\n","protected":false},"author":2,"featured_media":48492,"comment_status":"","ping_status":"","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[264],"tags":[1135,1136,7281,18,117,35937,1138,35938,19,17,35939,337,35940,35941,15284,27655,1141,1142,31249],"class_list":{"0":"post-48491","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-music","8":"tag-1135","9":"tag-3-0","10":"tag-death-metal","11":"tag-eire","12":"tag-entertainment","13":"tag-generation-of-the-void","14":"tag-german-metal","15":"tag-ghost","16":"tag-ie","17":"tag-ireland","18":"tag-leprous","19":"tag-music","20":"tag-nailed-to-obscurity","21":"tag-nuclear-blast-records","22":"tag-opeth","23":"tag-post-metal","24":"tag-progressive-metal","25":"tag-review","26":"tag-sep25"},"share_on_mastodon":{"url":"","error":""},"_links":{"self":[{"href":"https:\/\/www.europesays.com\/ie\/wp-json\/wp\/v2\/posts\/48491","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.europesays.com\/ie\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.europesays.com\/ie\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.europesays.com\/ie\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.europesays.com\/ie\/wp-json\/wp\/v2\/comments?post=48491"}],"version-history":[{"count":0,"href":"https:\/\/www.europesays.com\/ie\/wp-json\/wp\/v2\/posts\/48491\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.europesays.com\/ie\/wp-json\/wp\/v2\/media\/48492"}],"wp:attachment":[{"href":"https:\/\/www.europesays.com\/ie\/wp-json\/wp\/v2\/media?parent=48491"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.europesays.com\/ie\/wp-json\/wp\/v2\/categories?post=48491"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.europesays.com\/ie\/wp-json\/wp\/v2\/tags?post=48491"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}