-ii- - Apostles of the Flesh

Angry Metal Guy 80

Before you ask, it’s pronounced “two eyes.” -ii- formed in Nancy, France in 2018. Since then, they’ve released a handful of EPs and singles, as well as a debut LP, Extinction, in 2021. Historically a duo—composer/multi-instrumentalist Benjamin Racine and singer Hélène Ruzic—the band brought on multi-instrumentalist Maxime Keller and drummer/percussionist David l’Huillier for their sophomore effort, Apostles of the Flesh.¹ As a sucker for anything vaguely sacrilegious, that album title is what caught my interest, and I’m glad it did. Apostles of the Flesh is an intimate and visceral experience, and it’s one you shouldn’t miss.

-ii- is not a metal band. They play what they seem to call “ghost wave,” which sits somewhere between post-rock, goth, darkwave, trip-hop, and industrial, at times recalling HEALTH or Nine Inch Nails. If this sounds fairly electronics-heavy, it is. But on Apostles of the Flesh, -ii- eschews the drum machines and some other electronics of their debut in favor of live instrumentation, and it’s a resounding success. With l’Huillier’s lively drumming and Racine’s unique instruments,² Apostles of the Flesh feels alive. This organic improvement over Extinction would be nothing to write home about, however, without the impressive songcraft Racine showcases here. Whether it’s a distorted, electronic bridge amidst tribal yet airy instrumentals (“Lotis”), impactful usage of audio effects (“Pearls Beneath the Embers,” “Virginia’s Mirror”), or shimmering synths draped over wistful strings (“The Fountain of Helicon”), everything fits together and flows effortlessly. Of particular note is “When Beauty is a Crime,” where -ii- mirrors its lyrical violence with a tense and uncomfortable atmosphere that refuses to let the listener move on. Apostles of the Flesh is intentional. It’s meticulously crafted. And metal or not, -ii- undoubtedly possesses the Metal Spirit™.

Apostles of the Flesh by -ii-

Two elements in particular drive this album’s high caliber: Ruzic’s vocals and l’Huillier’s drums. By turns conflicted (“The Birth of Venus”), seductive (“Sisyphus in Red”), defiant (“Where the Diamonds are Hurled”), and spiteful (“Under the Skin”), Ruzic guides the listener through an examination of the body and its inextricable link to the spirit. Lyrically, she’s transgressive like Ethel Cain or GGGOLDDD, but less direct. Her delivery hies closer to Chelsea Wolfe or Darkher, although -ii- fosters a greater sense of rhythmic urgency. This is largely accomplished by l’Huillier’s standout performance, both carnal and tribal. Hammering at his kit with artful brutality, l’Huillier drives ritualistic numbers (“Sisters of the Coven,” “Digging for Blood”), stricken passages (“Under the Skin,” “When Beauty is a Crime”), and enraptured crescendos (“The Birth of Venus”) with the same skilled hand. The spiraling climax of “The Fountain of Helicon” is a high point, as l’Huillier recklessly hurtles the listener toward the fabled spring. L’Huillier brings an intensity to Apostles of the Flesh that, combined with Ruzic’s provocative and emotive singing, cements this album not just as a collection of good songs, but as an intense, ritualistic experience.

Not only is Racine responsible for the musical arrangements, but he also handles much of the production. The mix is big and spacious, and each instrument gets plenty of room to flourish. Even in the most chaotic moments of Apostles of the Flesh, when drums, vocals, strings, or synths rise to a fever pitch, each element is clear and vibrant (“The Birth of Venus,” “Lotis,” “The Fountain of Helicon”). His use of the soundstage is equally impressive, and because of this, Apostles of the Flesh excels in a pair of headphones over a speaker system. Quivering strings and ethereal synths dynamically float through the space, creating a lost, forlorn sensation on “When Beauty is a Crime” and “Virginia’s Mirror.” Ruzic sounds so close and so private amid the waves and rainfall of spoken word piece “L’Onde et l’Abysse,” it’s as if she speaks to the listener alone.

Apostles of the Flesh is not an album to play in the background, and it’s not for everyone. It demands both your attention and an emotional investment to shine, but shine it does. Some might balk at a 65-minute runtime or note that several songs go on long after Ruzic is done singing. I consider it a testament to Racine’s compositional prowess that these longer outros feel valuable and that the album holds my attention front to back. Apostles of the Flesh is passionate, vulnerable, and cathartic. For those willing to commit, -ii- offers an intense, surreal journey you won’t soon forget.

Rating: 4.0/5.0
DR: 7 | Format Reviewed: PCM
Label: Self-Released
Websites: Bandcamp | Facebook | Instagram | Youtube
Releases Worldwide: October 3rd, 2025

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