Zauber – Weg der Seelen

Rating: 2/5
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Released: 2017
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Band Line-up:

Ludovic Dhenry – Everything


1. Der Tod schminkt ihr Gesicht
2. Asche des Wissens
3. Er stiehlt die Liebe
4. Sie wandern in Traurigkeit
5. In Ihren traurigen Augen
6. Silbern
7. Creature
8. Schweigen und Angst
9. Blut und Liebe
10. Die Leiche
11. Geist der Toten
12. Wille des Engels
13. Spiegel des Lebens
14. Weg der Seelen


Zauber is an electro goth/electro dark project of a mister Ludovic Dhenry (also of the one man band, Exponentia). Like in the latter act, everything was arranged, produced, written and mastered by Dhenry, and unsurprisingly, both acts are based in France and are on Neris Records. Zauber’s latest work of three, ‘Weg der Seelen’ was released in November 2017 and features 14 tracks.

Obviously electronica is mostly made for dancing to and isn’t supposed to be overly complicated, but Dhenry has taken things too far. Bass lines are relentless root notes with next to no creativity, and the same alternating octave leaps in the synths are used ad nauseam in almost all songs. Furthermore, the melodies are sometimes limited to very few notes. However, some are actually fairly decent and travel up and down and meander in pitch quite nicely. Even so, that’s not enough to stop all tracks apart from the not so bad last one from sounding the same. Especially as there is so little variety in the chord progressions, which are perhaps the most dominant features of the music.

The production throughout the album isn’t bad, but it needs to be far more adventurous to make up for the deficiencies in the writing. It could also have been at least partly saved by adding interesting vocal melodies, but unfortunately the singer’s spooky, pitch-less delivery kind of just adds to the mood of the material, rather than improving the compositions in a more ‘musical’ way.

To sum up, if I hear any more alternating octave patterns in the next few minutes, I will not be held accountable for my actions. The LP is like one dull, long blur and has very little of interest in it. If the songs were as cleverly written as the genuinely good closing track, with its intriguing variety of textures, I would give the album a respectable 3/5 or 3.5/5, but it wasn’t to be. This album is not recommended.

Review by Simon Wiedemann