Last time I had a Goth Metal album to review, as little as two weeks ago, I was largely uninspired, criticising the lack of ambition. Thankfully, one week later I have been reassured of the potential and significance of the genre. Last Place On Earth is everything Goth should be, reverberating with a kind of enchanting darkness, yet retaining a sense of ambition and scale. The word ardour derives from the Latin, meaning ‘to burn’, so in English, the word means to show fiery passion or emotion – a task this Italian act, formed by Tristania singer Mariangela Demurtas and multi-instrumentalist Kris Laurent, pour their talents and emotions into. A cascade of glorious violins opens What Else Is There? Perfectly accompanied by whirling, potent guitars and completing keyboard melodies. Here’s a perfect start to an album, which captures the brooding if beautiful textures lacing the experience. Catabolic is equally as serene, the unceasing drum gallops, heartfelt vocals, as well as the hiss and bite of the guitars, supplementing the gorgeously apocalyptic themes on display. Last Place On Earth continues on an ominous yet optimistic feel, the tone of the anthem complementing the album artwork of an aurora-borealis type phenomena, reflected in the throes of a deep and seemingly unending sea.
Design keeps me enthralled, the synthesizer touches and charging, ceaseless feeling, gripping me in a perpetual state of chilling exhilaration. I'm quite cautious about rock ballads, as they can scupper the tone of an album with a stint of phony sentimentality, yet I’d be lying if I told you that Last Moment wasn’t making my emotional side win out by out, the soaring instrumentation and subtle though present percussive elements, discerning the song. Five songs in, the experimentation and excitement continues, with The Mist providing a unique and immersive use of atmosphere, and Therefore I Am unexpectedly altering the sound of the alum slightly, in order to maintain a sense of grandiosity while granting a greater role to the electronic elements – a new trick in the deluge of ideas these musicians utilize.
Truths, along with much of the debut, belongs firmly in the symphonic, orchestral subgenre. Finally, No One Is Listening and Totally, close the album by showing the two sides of Ardours personality. Somber yet multifaceted, sanguine yet dark, elements constantly reinforcing each other and combining to create a gargantuan, powerful and gigantic record which doesn't so much as set the tone for a career as it does display the talents of the two band-leaders in full force and make you wonder how they will rival their first effort in future. 8/10
Betraying The Martyrs: Rapture (Sumerian Records) [Paul Hutchings]
Album number four from French deathcore outfit Betraying The Martyrs, and the first to feature lead guitarist Steeves Hostin. It’s a rage filled release, in the typical style of most deathcore outfits, but with Victor Guillet’s keyboards and programming adding an interesting twist to the sound. Snarling vocals, big time changes and heavy riffing are all present and correct. I didn’t mind opening song Eternal Machine but following track Down, despite a deep groove has the horrible mismatch of growls and clean singing that I despise of this genre. Similarly, on Imagine, another groove drenched song that is badly mauled by the clean vocals which add little.
There are some beasts on this record mind, with the brutal Parasite hitting hard, the echoing keys adding to the bludgeoning drumming and massive riffs, whilst Monster and The Swarm deliver in much the same way. As with most metalcore and deathcore, by midway through the album I’m having to check the track listing to ensure I’m not on repeat. I’ve said before that this genre bounces off me with no impact, and the repetitive nature of the music masks what is undoubtedly a technically excellent outfit. Whilst there are moments that grab my attention throughout Rapture, overall, it’s another album which will be unlikely to get another play. 6/10
There are some beasts on this record mind, with the brutal Parasite hitting hard, the echoing keys adding to the bludgeoning drumming and massive riffs, whilst Monster and The Swarm deliver in much the same way. As with most metalcore and deathcore, by midway through the album I’m having to check the track listing to ensure I’m not on repeat. I’ve said before that this genre bounces off me with no impact, and the repetitive nature of the music masks what is undoubtedly a technically excellent outfit. Whilst there are moments that grab my attention throughout Rapture, overall, it’s another album which will be unlikely to get another play. 6/10
Moron Police: A Boat On The Sea (Mighty Jam Music Group) [Alex Swift]
Moron Police? Seriously? I’m reviewing a band called Moron Police? One quick search reveals how this band has songs with titles such as T-Bag Your Grandma and…um…Stomp That Goomba (Super Mario Bros obviously - Videogame Ed). I figured I was in for a kind of derpy, stupid comedy album that I could thrash out a review for in minutes without having to do too much insightful analysis or anything complex. Maybe a 4/10 if the album was unfunny or a six out of 10 if the songs made me smirk, how good could A Boat On The Sea possibly be? After thirty minutes and multiple repeated listens, I’m extremely pleased to say I’m now taking cooking lessons to find the finest way to eat those first few words. One thing I was not expecting was an epic album with influences from Jazz, prog and Disney Soundtracks. I mean that in just about the greatest way as well. Much like the exuberant art, the whole experience bursts with life and colour. Exaggerated though strangely contemplative, the album is packed with anti-war anthems – a long shot from their early ridiculousness. All these elements combined make for a record which ticks every box in my book – that is, except for one, which we will get to later.
Hocus Pocus begins on a light patter at a piano, already setting the tone for a vastly more impressive experience than previous albums. The Phantom Below takes us off guard with a sprawling and detailed keyboard, guitar combination which sets the tone for the ambitious musical themes while creating a sort of twisted joy for the albums main antagonist – an arms dealer – to revel in. Halfway into the opener a saxophone solo cuts in, filling me with a sense of charisma and joy, which proves especially ironic considering the lyrical themes at play. The Invisible King has a huge and danceable chorus, yet the song excels and subsides in the right measure to create a journey-full and changeable experience. In moments, wartime radio broadcasts crackle into the mix – an experiment which despite risky, pays off excellently in keeping the listener perplexed yet enraptured. ‘We don’t sell guns, we just provide a little service, hey that’s all’ our lead character smoothly croons on Beware The Blue Skies, just after a wild and animated instrumental piece, and just before subdued and peaceful harmonica tangent. The Dog Song is equally as memorable, making greater usages of brass instrumentals, and bearing hints of musical theatre.
Captain Awkward is an anthem I find particularly relatable, the strong Jazz as well as Middle-Eastern, 8-bit, swing and traditional prog influences, creating a confused though engrossing and euphorically catchy juggernaut of a centrepiece. Two songs from the end, The Undersea up’s the ambition with use of strings, towering guitar layers and another hook which hits you with the force of a tidal wave…or a bomb! Closing on the winding and epic Isn’t It Easy, I leave thinking I’ve just been treated to one of 2019’s biggest and greatest surprises, and before I make my one minor criticism, I would like to point out that A Boat On The Sea is another shoe-in to appear somewhere on my album of the year list. Still, could it have hurt the Moron Police to make the album a bit longer? I’m just saying given the style choices, 30 minutes doesn’t feel nearly long enough. Nevertheless, you could interpret my clamouring for more as a sign of greed – ‘’Moore! The Boy Wants More!’’ - And an endorsement, rather than a negative point. For my surprise and my clutching at straws for bad things to say, I award a strong. 9/10
In Search Of Solace: Enslaved To Tragedy (Sharptone Records) [Paul Hutchings]
The latest release from the Minnesota metalcore outfit appeals to me in the same way a dog shit sandwich does. Another band that have been plying their trade for some time, since 2012 in this case, I remain completely devoid of emotion listening to Enslaved To Tragedy. Whereas I can dig Atonement, the new release from KSE, this release left me just annoyed I’d wasted 34 minutes listening to it. The vocals of Jonny LaDuke are particularly irritating, and whilst people will throw that I enjoy death and black metal, I will argue that there is much more to those genres than metalcore. The compositions here appear repetitive, routine and despite the pumping bass there is little to enjoy. I really need to stop taking metalcore albums to review. They do nothing for me whatsoever and this one is more abject than most. 4/10
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