Words Of Farewell: A Quiet World-2016.

Words Of Farewell:Melodic Death Metal from Germany.


Ashes of the Coming DawnEP2007 
From Now On…Demo2009 
The Black Wild YonderFull-length2014
A Quiet WorldFull-length2016
Inner UniverseEP2020 
Inner Universe IIEP2021 
Konstantin Voßhoff
See also: ex-Aparathus
Alexander “Alex” Otto
Bass (2007-2009), Vocals (lead) (2007-present)
Erik “EG” Gaßmus
Guitars (lead), Vocals (backing) (2007-present)
Leo Wichmann
Keyboards (2007-present)
Tristan Wegner
Drums (2013-present)
See also: Mob Rules (live), Barfuß, MowHa, Stahlfuß
Robin “Rob” Dirks
Guitars (2014-present)
See also: Victims of Prejudice

Past Members:

Benedikt GoralskiDrums (2007)
Felix “Flixx” GreiffDrums (2007-2009)
Philipp “Vyl” OlivierGuitars (lead) (2007-2011)
Nils UrginusGuitars (rhythm) (2007-2009), Bass (2009-?)
Jonas WübbeDrums (2009-2013)
Henrik TschierschkyGuitars (lead) (2011-2014)
See also: ex-Symbiontic, ex-Erazor, ex-Harasai, ex-Freezing Night
1.My Share of Loneliness05:45  Show lyrics
2.Gaia Demise03:31  Show lyrics
3.Gallows Frame05:10  Show lyrics
4.Limit Cycle07:46  Show lyrics
5.Zero Temperance04:07  Show lyrics
6.Momentary Life04:46  Show lyrics
7.Oversoul05:15  Show lyrics
8.The Farthest Reach04:11  Show lyrics
9.This Shadow My Likeness10:45  Show lyrics

One thought on “Words Of Farewell: A Quiet World-2016.

  1. Diamhea, December 14th, 2016
    Words of Farewell was recommended to me due to perceived similarities to Omnium Gatherum and other Finnish genre hallmarks. I definitely see some parallels here, as these Germans feel just as opulently melodic and their riffing style has a bit more of a modern vibe to it, with the proclivity for chunkier, almost groovy rhythms. This band certainly won’t trigger a paradigm shift or anything in the genre, but there aren’t many German band working with this more modern, synth-laced framework, so its nice to see the region get some solid representation with Words of Farewell. Now, this is the band’s third record and their experience has presumably been put to good use, as A Quiet World has most of what I want in a modern melodic death act, and excels in the important aspects.

    Getting right to the nitty-gritty, “My Share of Loneliness” is soaked in tangible, palpable heaviness and evokes a convincing dichotomy when the elegant synths bite off their share of sonic real estate. The keys are indeed very similar to Omnium Gatherum, or even some Russian acts like Sympuls-e and Sunless Rise, like the trance lines that thread in-between the sinewy gait of the riffs on “Gaia Demise.” The lead guitars are also more than capable of holding their own, resulting in a strong assault from a melodic aspect, even if the rhythm riffs feel a modicum rote at times, lacking in verisimilitude and failing to appreciably inveigle the listener. Some cuts like “Gallows Frame” crank out some nifty, obtuse rhythms in a manner redolent of later Scar Symmetry. Words of Farewell share that same Martian vibe, especially with the futuristic sounding synths and super-focused leads.

    Raw technicality isn’t the band’s strongest suit, but the guitarists are up to the challenge of maintaining equilibrium and enthralls me thoroughly with the raw emotion that bleeds through the lead melodies. Soloing also leans more on impressing through measured restraint as opposed to shredding. This results in even more memorable instances within A Quiet World, which is shaping up to be one of the best melodeath exports of the year. I certainly can’t accuse the band of monotony either, as there is a wide breadth of tone and atmosphere throughout the record, like the multifaceted “Limit Cycle,” which makes good use of its seven-plus minute runtime and runs through a bevy of interesting progressions, evoking further parallels to Scar Symmetry.

    The unexciting rhythm guitars aside, A Quiet World is a seriously impressive modern melodeath outing. Words of Farewell feels like a band that would excel with a competent clean vocalist trading off with the screams, and the absence of such here (save for a few instances) makes me wonder how much better these guys could actually be. In fact. that would almost be a melodic overload, so it is probably for the best in the end. The voluminous, rousing swells of the synths pins down the introspective, cerebral atmosphere of the record in a way wholly familiar yet no less awesome. Definitely a shoe-in contender for album of the year regarding the subgenre.


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