The Last Of Us — The Last of Us Review
Last Of Us, a Swedish Gothic Rock ensemble forged in 2019, unveiled their debut opus—a “Self-titled” album—on October 8th, 2020. Released under the banner of Wolfmond Production, this inaugural offering marked the band’s formal emergence into the ritualistic realm of Gothic sound.
The First Three Sins, The Summary
The Fourth Sin, Overall Discussion
Portal Ignition: The Sonic Threshold
The instant the play button is engaged, an immersive auditory odyssey commences. The album’s initial offering, Draw, acts as a potent portal, ushering the listener into a stark, post-apocalyptic soundscape. Immediately following with a synth-driven instrumental with an up-tempo, hard rock edge. The sonic aura is a potent blend, reminiscent of Rammstein’s industrial might and the dark, vampiric allure of The 69 Eyes.
Ritual Tapestry: Survival in Sonic Ruin
As the listener presses onward through the subsequent nine sonic narratives, The Last of Us unfurls its thematic tapestry. It paints a grim portrait of a world teetering on the brink. This is a brutal existence where only the strongest survive. It’s a raw, primal environment governed by the law of the jungle. The prevailing sentiment is one of “eat or be eaten.” Across ten hymns—fruits of art forged in ritual, where the album navigates the profound depths of darkness and despair. Yet, it also illuminates flickers of hope and the relentless search for light.
Each hymn stands as a distinct auditory microcosm. These are self-contained sonic vistas, unbound by conventional limitations.
Devilmanship Unbound: Gothic Lineage Reborn
The Last Of Us, transcends the label of a mere Gothic Rock act. This is a flawless display of devilmanship. It powerfully channels the spirit of both eighties and nineties Gothic Rock. Devotees of bands like Fields of Nephilim, NFD, The 69 Eyes, Sisters of Mercy, Rosetta Stone, The Mission, and Love Like Blood will find themselves deeply satisfied.
The album captures a profound, slow, and sensuous dirge. The primary vocals exude a doom-laden romanticism. They possess a fatalistic flair akin to Type O Negative. Angular guitars slice through theatrical shadows. The primal pulse of post-punk minimalism, as pioneered by Bauhaus, is palpable. It evokes the melancholic melodies of The Cure, enriched by shimmering synths. This is particularly evident in tracks such as A Little Time. The stark emotional landscapes and bass-driven introspection of Joy Division are also present. They echo a lawless beauty born from despair.
Tradition Transcended: Gothic Pulse Reforged
At its core, the album exudes an old-school Gothic rock vibe. However, it is far from being confined by tradition. Imagine the epic scope of Fields of the Nephilim fused with the raw energy of Dark Side Cowboys. Add to these flashes of Ministry‘s industrial intensity and the sheer grit of Motörhead. The vocals deliver baritone incantations. They are moody, commanding, and steeped in a palpable sense of ritual.
The recording quality is also exceptional. It achieves a perfect balance between raw power and pristine clarity. Guitars and vocals take centre stage. Yet, the electronic elements are expertly woven in. They act as intricate ritualistic threads. The mastering is flawless. It preserves the dynamic range, avoiding the pitfalls of over-compression.
The album breathes. It possesses a vital energy even in its most bleak passages.
Ceremonial Strings: Guitar and Bass Invocation
The devilmanship is executed with absolute perfection. The composition and arrangement are flawless. A. Swans‘ lead guitar work conjures both melodic decay and jagged riffs. It shifts between a ceremonial shimmer and an aggressive bite. These passages sound like rusted cathedral bells tolling through a nuclear fog. Classic gothic shimmer collides with jagged riffs, echoing the spirit of Ministry and Motörhead. There is a profound sense of ceremony within the chaos. Each guitar solo feels like a ritualistic invocation. Demoneum‘s bass work is equally striking. His low-end coils like smoke around the ruins of a desolate world. It is thick, brooding, and undeniably foundational. His tone is rich and enveloping, providing a solid anchor.
The bass does more than simply support. It anchors the entire sonic architecture. Its style embodies the spirit of Gothic music. Its execution is firmly rooted in post-punk sensibilities. It evokes the emotional gravity of Joy Division. It also touches upon the doom-laced sensuality of Type O Negative.
The bass often dances with the drums. They move in tribal unison. This creates a primal pulse beneath the melodic decay.
Baritone Sermons: Vocals and Percussion in Ruin
N. Vincent’s vocals are powerful baritone incantations. They are moody, commanding, and deeply steeped in ritual. They sound like a sermon delivered from the ruins of civilisation. The delivery carries echoes of Fields of Nephilim, The Mission, and Type O Negative. There is a theatrical quality. Yet, it never feels excessive. Every spoken phrase is imbued with intention. F. Bergström’s drumming provides a thunderous, tribal foundation. His percussion grounds each track with primal urgency. It is like war drums echoing across a scorched moor.
Bergström‘s rhythms are tight, ritualistic, and possess a dance floor-ready energy.
Shimmering Fog: Synths of Ethereal Despair
A-Gain‘s keyboards add ethereal synth textures. They shimmer like radioactive fog. These elements never overpower the mix. They consistently maintain an atmospheric presence. The synth textures evoke the melancholic nuances of The Cure. They blend with the darkwave shimmer of Clan of Xymox. There are also hints of Ministry‘s industrial grit.
Final Benediction: A Gothic Revelation
In summation, The Last of Us is far more than a mere artistic creation. This is not a product of recent times. It feels as though it was recorded during the golden era of the 1980s Gothic scene. For devotees of classic Gothic sounds, both long-standing fans and newcomers alike, this album is a revelation. For any aficionado of Gothic rock, this is an essential acquisition.
The Final Rite — Three Last Sins and a Benediction in Fog
As the album descends into its final moments, we offer our deepest gratitude to Wolfmond Production for granting us passage into this sonic sanctum. Their trust allowed us to ritualize this review of The Last Of Us—a Gothic relic steeped in fog, flame, and devilmanship. Now, as the veil lifts, we invoke the final three sins and prepare to seal this ceremonial text.
The Fifth Sin, The Memorabilia
The Sixth Sin, The Artwork
The Seventh Sin, Disrelish
The Last Of Us
Demoneum — Bass
N. Vincent — Vocals
F. Bergström — Drums
A. Swans — Lead Guitar
A-Gain — Keyboards
Hear The Music
Reviewed by Kristian — editorial architect and ceremonial crafted. © Athenaeum of Sin Reviews.