Endless Melancholy

Fragments of Scattered Whispers by Endless Melancholy by Sergio Díaz De Rojas

By Amanda Nordqvist


With several releases, both self-made and via labels such as 1631 Recordings and Hidden Vibes, Oleksiy Sakevych’s solo project, descriptively named Endless Melancholy, teamed up with Dronarivm and released his latest album, Fragments of Scattered Whispers, on the 9th of November. Coupled with impeccable cover art by one of our favourites, Gregory Euclide, and mastered by Krzysztof Sujata, the musician behind Valiska, the album is a beautifully crafted inward look, gently tugging at the listener’s deeply hidden memories – filled with remarkable transitions and movement of style and sensation.

After a shuddering intro to the album, with soft cries in what seems like a war zone, the album’s heavy-weight is introduced without hesitation between the tracks – Postcards is immediate and ever-present, with an unpretentious lightness contrasting the heavy, slow backdrop. The gentle melody swings securely back and forth, offering a sense of assuredness, lulling us into the second part of the track. An elaboration of the same confident kindness, I feel almost as if the track asks to take me with it – it’s a perfect melodic embodiment of “PS – I wish you were here”, and the underlying, subtle melancholic tendency grasps unforgivingly at the pit in my stomach, as the track ends on a slightly more disheartened path, as if the journey indeed took a turn, and the postcards stopped arriving.

The album moves steadily between themes: after the noisy nature of Will You Be There, we are taken in by the softly nervous embrace of In Transition From Anxiety To Acceptance – Sakevych truly shows the power of a fitting title – where the build-up of the restless looping is finally replaced by one slow, deep breath, and I am engulfed in the warm rush of rumbling droning. It is most apparent here how the artist has grown from his previous releases – a sense of caution can be sensed throughout his first works, a slight hesitation in expression, but this has been thoroughly replaced by a fearless method of “laying it on thick”: allowing for the contrasts to tell the story. The noise and the grit is there for a reason, and must be allowed proper space as well, something Sakevych has certainly embraced.

The transition to Her Fragrant Beauty passes almost unnoticeable, but the track is quickly scaled back into rustic, distorted piano, lending a paradoxical sense of eerie familiarity; like seeing a stranger in one’s most sacred place – not intruding but not entirely welcome, either, as the curious but gentle hands touch your photographs, your memories, wiping off the dust and bringing them back into the light.

The album moves gently towards its end, with the achingly slow unfolding of Slumber Waves – a track that isn’t hesitating, per se, but is truly contemplating each step; this allows for an unforced grace, the dignity of a voice that needn’t shout to be heard. Washed Away By Slow Currents brings it all together then, the shuddering ambient wails swinging into each other with that same unquestionable grace, and I find myself in the rare instance where the music conjures no words at all – I am washed over by feelings that I truly can’t find a way to describe, only a warmth in my chest and an emptiness behind my eyes. My whole being is encumbered in the soft grasp of the ending notes, as the lingering, light-hearted melody bids me farewell with twinges of corruption hinting at a sub-layer of melancholy – the same melancholy that appropriately seems to simmer around the edges of any and all of Sakevych’s magnificent art. Managing to hold such sombre themes without letting the music become something cold and disheartening is a true feat, and one that Endless Melancholy has undoubtedly come to master.