Gravenoire - Devant La Porte Des Étoiles (Season Of Mist) [Mark Young]
The accompanying bio for Gravenoire’s debut EP intrigued me. Traditionally, the associated PR will promise much and sometimes lose sight of what the artist strives to achieve. Here, the message is simple, this is 4 musicians in a room, captured live with no studio chicanery to hide behind. They intend to look to their past to build their future and bring their vision of what black metal should be.
So, how do they do?
Pavens is the obligatory opening instrumental complete with pounding drums and a rising orchestral arrangement that seeks to build atmosphere before France de l’Ombre comes screaming in (literally). From there on, they deliver on their promise of bringing their vision of what black metal should be. It’s blasting drums, melody lines and lyrics that are dripping in venom. If anything, it sounds ultra raw but that is the way you think It should be. It is not over produced, or polished it is just furious and you know that this is exactly how they would sound on stage.
Ordo Opera Cultura keeps that fantastic pace going and follows that traditional black metal approach laid out in France... and is just full of those little moments that give it that something extra. The drum fills from Emmanuel Zuccaro are top-class, powering them forward at an ungodly pace.
The accompanying bio for Gravenoire’s debut EP intrigued me. Traditionally, the associated PR will promise much and sometimes lose sight of what the artist strives to achieve. Here, the message is simple, this is 4 musicians in a room, captured live with no studio chicanery to hide behind. They intend to look to their past to build their future and bring their vision of what black metal should be.
So, how do they do?
Pavens is the obligatory opening instrumental complete with pounding drums and a rising orchestral arrangement that seeks to build atmosphere before France de l’Ombre comes screaming in (literally). From there on, they deliver on their promise of bringing their vision of what black metal should be. It’s blasting drums, melody lines and lyrics that are dripping in venom. If anything, it sounds ultra raw but that is the way you think It should be. It is not over produced, or polished it is just furious and you know that this is exactly how they would sound on stage.
Ordo Opera Cultura keeps that fantastic pace going and follows that traditional black metal approach laid out in France... and is just full of those little moments that give it that something extra. The drum fills from Emmanuel Zuccaro are top-class, powering them forward at an ungodly pace.
The songs are wrung so tight that although there is little difference between the tracks, sonically each one slams home. Aux Chiens rips onwards, the central guitar line like the ones before standing proud with the drums behind it as they pulverise. It is like stepping back in time to when this was a fresh off-shoot of extreme metal and the way they attack is like they have just started out.
Granit pulls the rug a little, going for a slower arrangement (it’s still rapid, mind) and if anything makes their sound bigger and shows that there is more to them than 1000mph guitars. What doesn’t change is the intensity behind it. That doesn’t drop at all especially when they do start picking up that pace as the song winds to its climax. Gravenoire bookends the EP, strings set against a spoken word narration, providing a mournful background that is followed by an isolated piano track that continues that melancholic feel and it closes out proceedings the right way.
In terms of black metal, it doesn’t bring anything new to it. There are no wild changes and musically it is as you would expect it to be. What it does have though, is a belief, unshakable belief in the way they have approached it and ultimately delivered. It is authentic and combined with energy that is there for all to see. Any discerning black metal fan should grab this immediately. 8/10
Granit pulls the rug a little, going for a slower arrangement (it’s still rapid, mind) and if anything makes their sound bigger and shows that there is more to them than 1000mph guitars. What doesn’t change is the intensity behind it. That doesn’t drop at all especially when they do start picking up that pace as the song winds to its climax. Gravenoire bookends the EP, strings set against a spoken word narration, providing a mournful background that is followed by an isolated piano track that continues that melancholic feel and it closes out proceedings the right way.
In terms of black metal, it doesn’t bring anything new to it. There are no wild changes and musically it is as you would expect it to be. What it does have though, is a belief, unshakable belief in the way they have approached it and ultimately delivered. It is authentic and combined with energy that is there for all to see. Any discerning black metal fan should grab this immediately. 8/10
Italy's Kingcrow have taken a very familiar route towards Hopium, starting out by playing music that was inspired by Dream Theater, Symphony X, Shadow Gallery and others, they have evolved over the course of seven albums into a band with sound that is similar to acts like Caligula's Horse and Leprous, atmospheric, ambient, emotive progressive music.
It's the culmination of a long road and as I said sees the band adopt a style that seems to be in vogue, blending accessibility with progressive mastery. Kintsugi brings the anthemic choruses, a big bold opener to set the tone as the electronics and repeating beats are featured heavily on Glitch and Parallel Lines, both having the start/stop rhythmic patterns used by Leprous especially.
It's the drumming that has the Baard Kolstad-like style even on New Moon Harvest which is bit more introspective, the keys having an integral role in the experimental but accessible sound. That's the kicker, Kingcrow have adopted a style of progressive metal/rock that is all the rage, be it with Leprous or Rendezvous Point or even Evergrey (collaborator Vikram Shankar adds piano to the title track).
I don't blame them as Hopium is a well performed record from an experienced band, it'll gain them plenty of new fans. But they are another great band to add to what is rapidly becoming and over crowded scene. 8/10
All For Metal – Gods Of Metal: Year Of The Dragon (Reigning Phoenix Records) [Zak Skane]
The intro track Cry For Help sets the tone of the album with it’s female narrative setting the scene of journey that the listener is going to adjourning throughout the collection of twelve songs. Whilst the narrative echoes through out the track the orchestral strings are swelling into the mix and tribal drums pound. Following this, Gods Of Metal brings pulsing basslines pounding through the mix whilst we are greeted with the deep godly baritone vocals. The track also features some mid paced galloping guitars thundering alongside the pumping drum beats whilst the choruses are backed by ballsy brass sections and heavenly choruses.
Year Of The Dragon takes us to the other side of the globe with it’s oriental elements plunking stringed instruments and fluttering flutes to accompany the eastern story telling of Japanese folklore. The solos produced by the great Ursula and Jasmine have come falling suit with it’s exotic scales preformed with legato and whammy bar trickery. The Way Of The Samurai continues the lyrical eastern themes bringing furious double kicks that cut through the mix like a katana and accompanying the sharp 80’s flared guitars.
The vocals bring some awesome trade offs from demonic baritone roars to high range cries. Temple Of Silence brings in some exotic percussion before we get honoured with some catchy riffs along with the continuation of trade off with baritone and tenor vocals giving off this Paul Stanley and Gene Simons chemistry on steroids. When Monsters Roar gets heavy with it’s evil sounding pedal note riffs whilst the furious double kick grooves return. We also get some uplifting guitar melodies and shredding guitar solos. Path Of The Brave brings in some soothing acoustic melodies, whilst the male vocals provide us an enriching ballad that empowers us through the rest of the album.
Throughout the track the song crescendos with powerful brass and string sections whilst the classic metal ensemble comes in with pounding groovy drums and soaring guitars solos. Like Thor And Loki talks to us about the tales of Ancient Greece with some marching snare patterns, whilst we get the resurgence of the greatly baritone vocals. The band brings back the galloping rhythms whilst shooting some uplifting choruses honouring the Greek tales. Valkyries In The Sky brings in the guest performance from Laura Guldmon from Burning Witches where she brings in her wicked raspy delivery into this melodic dance between Tim and Antonios main vocals.
Welcome features a meat and potatoes approach to the songs structure whilst guitars brings in some Eddie Van Halen styled solos that pack in some sharp pinch harmonics laces in with neo classical finesse whilst packing the bluesy sleaze. The dynamic Who Wants To Live Forever brings in a marriage of acoustic melodies and distorted guitars. The track also has it’s quirks with baritone vocals struggling to keep in key over the quite acoustic passages. The track also has a unique woodwind type of instrument providing solo in this song whilst the closing track The Journey will Not End brings a narrative close to the album.
Gods Of Metal continues the sonic momentum straight from their debut full length album Legends. The meat and bones metal instrumentation still sounds just as powerful. The drums sound colossally huge especially with the thundering double kick sections, the guitars create this perfect dance between trading riffs and solos between Ursula and Jasmine. Both of the vocals Tim and Antonio create this Gene Simons and Paul Stanley like chemistry on steroids.
Gods Of Metal continues the sonic momentum straight from their debut full length album Legends. The meat and bones metal instrumentation still sounds just as powerful. The drums sound colossally huge especially with the thundering double kick sections, the guitars create this perfect dance between trading riffs and solos between Ursula and Jasmine. Both of the vocals Tim and Antonio create this Gene Simons and Paul Stanley like chemistry on steroids.
By elevating their tales to a global scale it has allowed the band to incorporate other influences into their sound. From their classic triumphant instrumentations in songs like Gods Of Metal and When Monsters Roar to their eastern influenced Year Of The Dragon and The Way Of The Samurai the band still keep true to their image whilst still exploring new heights. 8/10
Mammoth Volume - Raised Up By Witches (Blues Funeral Recordings) [Rich Piva]
To be honest, I have generally been very hit or miss with the output from Swedish heavy stoner/rock/prog band Mammoth Volume. Not just album to album, but even song to song. These guys have been going at it since the 90s, with a big break in between, until starting to be very productive again in the 2020s, so there is a good amount of content to cover. Their new record, Raised Up By Witches, brought to us by Blues Funeral Recordings, continues my love/not love so much vibe that I have with the band, which results in a good, but uneven listen for me.
Let’s cover the good. The opener, The Battle Of Lightwedge, is killer. The riff, the vocals, all of it is great. The song reminds me of Dozer, or maybe Valley Of The Sun, in the best sort of way. The record sounds great, and the band continues to be super tight. I really like the psych prog vibes of the second track, Black Horse Beach. The layered vocals are great and the song has a unique feel to it that really makes it stand out, sort of a stoner Yes thing going on. I really dig track three as well, Scissor Bliss.
Mammoth Volume - Raised Up By Witches (Blues Funeral Recordings) [Rich Piva]
To be honest, I have generally been very hit or miss with the output from Swedish heavy stoner/rock/prog band Mammoth Volume. Not just album to album, but even song to song. These guys have been going at it since the 90s, with a big break in between, until starting to be very productive again in the 2020s, so there is a good amount of content to cover. Their new record, Raised Up By Witches, brought to us by Blues Funeral Recordings, continues my love/not love so much vibe that I have with the band, which results in a good, but uneven listen for me.
Let’s cover the good. The opener, The Battle Of Lightwedge, is killer. The riff, the vocals, all of it is great. The song reminds me of Dozer, or maybe Valley Of The Sun, in the best sort of way. The record sounds great, and the band continues to be super tight. I really like the psych prog vibes of the second track, Black Horse Beach. The layered vocals are great and the song has a unique feel to it that really makes it stand out, sort of a stoner Yes thing going on. I really dig track three as well, Scissor Bliss.
There is more of that out there proggy elements and weird tempos that make Mammoth Volume so cool, but there is also some sweet riffs and a tad of heaviness to this one, even if it may be a minute or so too long. After that we get another weird little ripper, Diablo III – Faces In The Water. This may be my favourite track on Raised Up By Witches as it as a heaviness and urgency that is spotty on the album as a whole. After this is where they lose me a bit.
Not really a fan of Lisa, as I am not sure how it fits in the grand scheme of the whole record and I am just not vibeing with it at all. The weird Genesis sounding opening and funky tempo of the title track is kind of cool, but it is missing something, especially following Lisa. While I like but don’t love the two tracks leading up to the closer, neither Cult Of Eneera or A Tale About A Photon grab me where I really have a hard time connecting with said finishing number, Sången Om Ymer.
Raised Up By Witches is par for the course for me with Mammoth Volume; love some, not so much love others, but nothing that makes me turn the record off. This is definitely a tale of two halves or a record, but the stuff I dig I really did dig a lot. 6/10
Raised Up By Witches is par for the course for me with Mammoth Volume; love some, not so much love others, but nothing that makes me turn the record off. This is definitely a tale of two halves or a record, but the stuff I dig I really did dig a lot. 6/10
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