Over the years I have travelled (virtually) around the world for our webzine, from Europe to the Far East, through Americas, Oceania, and some rare stints in African land. This time, though, I will go way beyond all of that, leaving the entire atmosphere behind me, reaching between fiftysix and a hundred kilometres from the Earth: my destination is Mars. "Orbita" tells us of the end of all civilization on the planet, caused by a war and the encounter of Phobos and his brother Deimos on the battle-torn face of it. A brief astronomy lesson: Phobos is the biggest of the two Mars' satellites, and the closest to it, the name comes from Greek and means "fear". According to myth, he is one of the children of Ares and Aphrodite; Deimos is another, and his name means "terror".
Just like a younger version of Darkspace — although Lord Phobos rejected this comparison, since he stated he got to know the Swiss project only recently — Phobonoid takes us to the remotest depths of cosmos through an "outer space" rendition of black metal, interspersed with industrial grafts conveying the feeling of inhospitableness of the Red Planet — big contribution by the "synthetic drums" — and ambient-like passages. The latter alternate with the metal tracks as brief breaks between one battle and another, where the survivors struggle to crawl back on their feet while the ruins get colder. The scream itself echoes in the long distance, as if it were actually coming from many lightyears away.
This work runs just around the twenty minutes mark, and this makes "Orbita" also suitable for people who are new to this style, although we shouldn't think of it as a shortcut to avoid repetitions or the risk of monotony, because each track has its own variations and personality. In fact, the guitars can be either melodic or paint solemn sceneries like in the closing track "Deimos" (the best track in terms of inspiration and completeness), where the atmosphere lingers between an almost majestic pride and a slight melancholy; on the other hand, "Magnete" stomps the listener with its oppressive feeling, although Mars' atmosphere is about a third of the Earth's.
In short, Phobonoid know how to handle this matter (not unheard of anymore) with care for details, including the completely self-managed recording and mixing (they have only contacted Karl Daniel Liden for the mastering), so they deserve your attention now and in the future with the second chapter of this saga. The beginning is promising enough.