Here at AMG Industries, we try to discover as many underground gems as possible. Sometimes, though, we can get a little carried away, as Master of Muppets once did in a TYMHM article, where he crammed in as many mentions of other bands as possible. Since that lone line was the only coverage Nullingroots have received here so far, allow me to present them more formally.
Based in Phoenix, Arizona, Nullingroots were originally formed by Cameron Boesch as an instrumental solo post-metal project. Various shades of black metal were added over time, alongside additional band members. The current version of Nullingroots includes Alex Haddad, the founder of the rising progressive death metal band Dessiderium. Now, Fourth Dimensional Dreamscape marks Nullingroots‘ reappearance after a six-year hiatus.
I don’t know to what extent Alex Haddad was involved in the composition of Fourth Dimensional Dreamscape, but it certainly sounds like he had some share in it. The cool major-key melodies that defined last year’s Dessiderium record can easily be discerned in the guitar, bass and piano, though filtered through a post-black lens rather than progressive death. In this way, I prefer Fourth Dimensional Dreamscape to its 2019 predecessor, Malady‘s Black Maw, which was much more uniformly blackened with fewer moments to breathe. The most exciting moments now come from the piano and various other keyboard effects, which add a crystalline sheen like the otherworldly styles of Unreqvited.
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Nullingroots contributed a great deal to the 55 minutes of Fourth Dimensional Dreamscape. The guitar chords often blur the boundaries between consonance and dissonance (“Fourth Dimensional Dreamscape,” “Remember My Name”). The tempo shifts in the drums are abundant to the point of seeming rather irregular than progressive. The most interesting track, “In Reverie’s Embrace,” combines a mystical keyboard melody with something almost like a rap beat played on a virtual drum kit. The vocals are the only area that can sometimes sound monotonous. The sharp shrieks fit faster-paced songs like “Remember My Name,” but don’t fit as well with the softer “Memoir of a Frail Past,” although there are brief moments of softer, gentler growls (“Life Thief”). The biggest missed opportunity is the complete absence of clean vocals, as Haddad’s singing would likely have complemented much of the orchestration well had it been given the chance.
Despite its busy nature, Fourth Dimensional Dreamscape doesn’t achieve what it could. Most of the time, it presents a jumble of independent moments rather than a fluid whole. Some of those moments are, admittedly, impressive, like the guitar outburst in the middle of “The Optimist.” “Memoir of a Frail Past” and “In Reverie’s Embrace” fare better thanks to the recurring keyboard melodies, but the rest of Fourth Dimensional Dreamscape is largely disjointed and at times indifferent. With a minimum track length of 7 minutes, the listener needs more reinforcement to stay grounded, especially in an environment where song intros and conclusions are treated as optional. Ultimately, I don’t feel so much led as dragged carelessly through the majority of these long excursions.
Fourth Dimensional Dreamscape is a promising new sonic direction for Nullingroots after a long absence, though it isn’t without problems. I’m convinced of the band members’ organic prowess, but less so of the songwriting. The first half flows more smoothly than the second half, but the whole package isn’t quite focused or cohesive enough. While it’s hard to wholeheartedly recommend Fourth Dimensional Dreamscape, with some improvements and tighter tracks, there’s a whole lot of potential for something truly good to come. I’m rooting for them.
Rating: 2.5/5.0
DR: 8 | Format reviewed: PCM
Label: Self-Release
Websites: nullingroots.bandcamp.com | facebook.com/nullingroots
Releases worldwide: February 11, 2026
The review was done by Angry metal guy.
