Release Date June 26th, 2026
Format CD/Digital
Genre Industrial/Gothic/Stoner/Doom Metal
Origin Switzerland
Godes Yrre began in 1994 as the solo project of Oliva, then active in the death metal band Sectarium. The project issued the demo "A Divine Image" that year and disappeared for more than two decades. After relocating to Switzerland, Oliva revived the name with "Inside The Whale" in 2017, moving through doom metal with industrial programming and electronic texture. "Ghost Warriors" followed in 2018, bringing death/doom deeper into the formula, and "Das Nichts" arrived in 2020 as the closing chapter of a numerological trilogy built around three albums, seven compositions per release and seven minute running times. Its subject dealt with images of hell, punishment and suffering across several cultures. In 2021, "Symphony Of Termination" recast earlier songs in orchestral form, while a double compilation appeared in 2023 with revised arrangements from the previous catalogue.
The next phase began in 2024 through three EPs, each containing three six minute songs and guest appearances, with stoner doom and gothic metal taking a larger role. Those EPs were gathered, remixed and remastered for the fifth studio album, "Feelings Can Burn You", issued by Bitume Prods on June 26, 2026. The ten song, and 60 min release appears on CD and digital formats. Oliva composed, produced and tracked the album at OLI Studios, handling guitars, bass, keyboards, programming, vocals and lyrics. DeepBlast Studios completed the mix and master. Neiver Diaz, Iolanu, Jorge Almarales, Hansel Arrocha, Mike Haller, Manuel Varela and Juan Paz contribute guitar solos across separate songs. David Nieves adds organ and orchestral arrangements to the title song, Ismel Leal plays violin on "Kill The Joker", and Iolanu supplies guitar and vocals on "Meditating Inside". Artemasdesign created the cover art, with Julien Neuville preparing the promotional layout.
"Feelings Can Burn You" places low register stoner riffs beside gothic keyboards, programmed percussion, death-doom vocals and flashes of orchestral color. The album has an imposing surface, though its hour long duration exposes limits in pacing and vocal range. Several passages stay in a similar tempo zone for too long, and the programmed drums become rigid when the guitars ask for looser movement. Oliva’s vocal approach remains narrow, sitting deep inside the mix and pressing the same grim register across much of the album. The songs share a unified character, though the emotional subjects deserve more variation in phrasing and tone.
The guest solos bring different accents, and the violin, organ and orchestral parts widen the sonic field without turning the album into a parade of names. The title song gains scale from David Nieves’ additions, while "Kill The Joker" uses violin as an effective counterline, not decoration. The remixing and remastering unify the EP based material into one continuous album, although the uniform treatment also reduces some contrast between songs. DeepBlast Studios places the guitars over a broad low end, leaves the keyboards audible and prevents the bass from disappearing under the programmed layers. The mix is controlled, perhaps too controlled in sections where doom metal needs more physical looseness and decay.
|7.0
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