Review: L’Homme Absurde – Flicker In The Rearview

October 2, 2025

502

It’s never too late to be what you might have been.

(This review was written by Voided Grimace)

Like most bands, L’Homme Absurde have gone through a few changes during their decade of existence. What had started as a one-man project evolved into a full band by the time they began releasing music. The band has now changed their blackgaze sound to something a bit more gothic, much doomier, and not at all blackened for their new album, Flicker in the Rearview. L’Homme Absurde’s confidence in their new direction has also inspired them to re-record new arrangements of four songs from their back catalog alongside three newly written songs for the album.

The new sound they’re debuting seems heavily influenced by turn of the century Katatonia (think Tonight’s Decision and Last Fair Deal Gone Down era). This is really interesting because until now, it seems that most bands who emulate Katatonia would focus on the Brave Murder Day era, with Mother of Graves being the absolute best to do it so far. I’ll admit it; when opener “Lost” finally kicks into gear after nearly three-and-a-half minutes with a signature Jonas Renkse-style croon, my delayed interest was now piqued.

While “Lost” doesn’t feel like a wholly effective album opener, it’s in the second track, “Belong,” where L’Homme Absurde fully reveal their new stylistic intent to the listener. The song is a reimagining of the title track of their 2020 album and it’s here where the band truly dig their heels into their newfound influences; it’s pretty fun to listen to. I closed my eyes and was almost transported to an alternate reality where Katatonia continued to explore their shoegaze and prog rock influences, minus the overproduction that has dulled their later output.

“The Quiet Room” is another reimagined earlier track and it may be the best song on Flicker in the Rearview, at least in the opinion of this reviewer. Frontman Alexey Slavin’s stylistic similarities to Renkse are really impressive as the vocal melodies float through layers of effects laden guitar passages. His performance on this track in particular shows an understanding of what makes Renkse’s vocal delivery so effective while avoiding any specific melodies that we’ve heard before.

The middle chunk of this album certainly carries the majority of the highlights, but it’s with the penultimate track “Stranger” where things curtail a bit. While there are a few memorable vocal hooks in this song, the arrangement mostly stutters through its six and a half minute runtime. One drawback of this collection of songs is that most exceed the six minute mark with very little variation in tempo or feel. Album closer “Leaves” attempts more of an 80’s gothic rock sound and even introduces some nice string melodies, but also doesn’t quite match the heights of earlier tracks on the album.

Rearranging and recording four previously released songs for your first album under a new style is a bold move that might alienate old fans and confuse new ones, but you have to give props to L’Homme Absurde for going for it. Perhaps the best version of this release might have been an EP with just those older songs since the newer material doesn’t sound as fleshed out. Since the band has only very recently changed their sound, Flicker in the Rearview can often sound like a band trying on their new pair of sonic shoes and getting a few pesky blisters as they walk. But hey, nice shoes.

To end the review on a positive note, because there is plenty to enjoy on this release, L’Homme Absurde definitely has the potential to further develop this sound with new material in the future. With time, their new creative direction may even feel like a more natural fit.