Style:  Progressive Metal, Symphonic Metal, Melodic Death Metal (mixed vocals / mostly harsh vocals)
Recommended for fans of: Septicflesh, Rotting Christ, Cradle of Filth
Country: Hungary
Release date: 15 July 2026

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What is love?¹ And more importantly, what is its meaning by itself, unrequited, unrecognized? My answer, at least in the case of romantic love, would be nothing. I think love is inherently mutual, reached through shared experience and understanding. Hungarian musical mastermind Zsolt Némethy argues the opposite point on Evanescent Horizons, the latest opus of his solo project, Darkwave. The album tells the life story of a man trying to cope with the end of a defining relationship; in subtext, however, it takes the concept of love in a broader sense, gradually separating it from its object. While I’m not convinced by the thematic conclusion, it is reached through a musical journey that certainly is a wild ride worth experiencing, so let’s see where it takes us!

Némethy employs a clever mix of styles that sets his music apart from other symphonic metal bands: Darkwave‘s sound is rooted in melodic death metal, characterized by the riffs and drumming, adorned with neoclassical guitar leads, a heavy use of classical arrangements (often built around the church organ), and the occasional proggy segment with odd time signatures (like those 7/8 shenanigans in “Blood-Sealed Solitude”). While still quite dramatic, this combination feels more intimate, even playful, compared to the grandiose theatrics characteristic of the subgenre. At the same time, the classical parts exist somewhat independently within the composition; the brisk tone of the classical instruments builds a strong contrast against the morose metal underneath. This duality in sound might represent love as a spiritual anchor for the protagonist amidst his tribulations, while pushing the overall aesthetics towards the macabre. The gothic atmosphere culminates in “Transitio Mundi”, the most cinematic song on the record. Building up to a slow groove with slightly robotic effected vocals undercut by almost obnoxiously bright strings, the track abruptly transitions into arpeggiated guitar fireworks, creating a disturbing soundscape that reminds me of a fever dream or bad trip—it might not be a pleasant feeling, but it is a powerful one expertly evoked, deserving of commendation.

Considering all the moving parts, the fact that Darkwave is a solo project makes Evanescent Horizons particularly impressive; however, therein lie most of the album’s shortcomings: not every aspect is equally strong. The guitar parts are clearly the most well-crafted components of the arrangements (check out those arpeggiated leads in “The Good Friday Exsultet”!), while the other instruments are there more to get the job done, rather than to wow the listener. This observation holds especially true for the vocals, dominated by flat, chanty growls, which fall into the serviceable category and do not express all the emotional nuance Evanescent Horizons aims to convey.

While the energetic guitar performance and theatrical presentation make sure that Evanescent Horizons remains entertaining throughout its just-shy-of-an-hour runtime, one can’t fail to notice that the songwriting often falls back on recirculated ideas and clichés. There are plenty of chug-along melodeath segments that you could have heard on any melodeath record ever released, and the classical arrangements often feel quite basic. As a result, some of the tracks, especially in the latter half, work better individually than as a collection, contrary to the desired effect of a concept album. And, of course, the track “The Parchment Night” crosses into cabaret-music territory; to Némethy’s credit, though, it doesn’t make me want to pour molten lead down my ear canals, which is my usual reaction to that most tired of tropes. Finally, the production goes for a wall-of-sound typical of the style, but since Darkwave’s composition is more focused on melody, more dynamic range could have served the music better.

I finish this review with conflicted feelings. On the one hand, I appreciate the scale of achievement on Evanescent Horizons: it’s a fun record offering a complex soundscape and an interesting premise. On the other, there’s only so much a single person can do, but Némethy’s ambition takes him further. Still—just like in the thematic arc—the record’s limitations cannot eclipse the love for music that shines through the cracks in the composition, adding an uplifting note to the otherwise dark tone, and making Evanescent Horizons a piece of art with surprising depth, worthy of your time.

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Recommended tracks: Blood-sealed Solitude, Transitio Mundi, On the Turning of the Years
You may also like: Brainblast, Aephanemer, Black Yet Full of Stars
Final verdict: 6/10

Related links: Bandcamp | Facebook | Instagram

Label: Independent

Darkwave is:
– Zsolt Némethy

1. Baby don’t hurt me! ↩︎