Premonitions is a maelstrom of atmospheric black metal and folk influences, the multi-national band have really increased not only the level of complexity in their sound but also widened the scope of their musical soundscape. From the first moments of Premonitions you are sucked into the bands bewitching sound, a maudlin piano giving way to Chloe Bray's keening voice upping the gothic sound for the band before Bray and Mike Lamb's riffs bring that black metal sound you'll be expecting, Lamb also adding the walls of synths on top of Riccardo Floridia's repentless drumming. With just the first song you get a very good grasp of what Sojourner offer. The highlight of their sound being the dual vocals of Bray and Emilio Crespo's growls, it's this duality that gives Sojourner a more rounded sound than many in the extreme music category.
The bands knack of creating interesting compositions such as the doomy Eulogy For The Lost which is brimming with folk influences Mike Wilson's bass keeping things steady. He gets flourishes here and there too especially on Atonement. Eulogy For The Lost sounds a little like modern Nightwish, evolving into a killer section of solo/lead breaks that trail off leading into the synths and strings of the cinematic Apocalyptic Theater, song that envelops you highlighting the dual vocals in a slower more emotional song than the rest on the record. Another string to the bow then, and another reason why I found this third album so appealing despite having never listened to the band before.
More folksy mysticism comes on the Celtic Talas a song led just by the haunting, echoed vocals of Chloe sitting in the middle of the record, it changes the dynamics of the album with a euphoric crescendo, more Clannad-like flutes and piano open up Fatal Frame and it's in this second part of the record that Sojourner keep you guessing, playing on the sense of unpredictability that the album title alludes to. The folk sounds, symphonic touches and even hints of power metal come in on the last few songs as the black metal blueprint is built upon and expanded. An album that unfurls into something a bit special Premonitions is a fantastic third record from Sojourner, I urge any fan of the more extreme/atmospheric realms of music to seek it out. 9/10
And The Sky Darkened: Between Ghosts (Self Released) [Alex Swift]
If you are familiar with the Cardiff live music scene chances are you will have at least heard the name …And the Sky Darkened. With their aggressive blend of progressive complexity and metallic viciousness, they have created a concoction that’s hard to ignore if you walk into a room where they’re playing. Now, on their new EP, the Welsh four-piece brings all of those skills to the forefront. At only four songs the piece does not outstay its welcome yet gets the listener enthralled for anything the future might hold for the band. Vocalist, Lewis said in their press release, that “we are immensely proud of this EP as it showcases all of our compositional strengths. It’s our most focused work to date whilst still displaying our light and dark sides. Its melody and brooding intensity are present throughout, with all members playing a key part in forging the sonic framework of a powerful and epic EP.” With them continuing to make a name for themselves, those elements may only be the start in a poignant existence.
Between Ghosts starts on a humming of feedback – a sweet though haunting semi-acoustic melody floats in over the distortion as if conveying the distinction between beauty and mystery. The addition of melancholic keys and a brooding development creates an ethereal and surrounding beginning to the record – as if you know there’s a mysterious force within, and are willing if nervous to advance forward. The crystal clear production takes me back slightly, yet adds to the sense of being immersed. Every member's contribution is heard and eloquently perceived. While I was expecting the opener to develop into something visceral and titanic, I’m actually glad that it didn’t – through its slow, introspective musing, the track was able to keep my attention, while subverting my expectations. There's still plenty of bombast present throughout though – Burden Hardest To Bear is a brilliant example with the animated and enthusiastic riff. Relentlessly, the track alters between moments of elated fervour, sheer anger, and inspiration. By measurement of transmitting the dark and light side of emotion, this piece achieves that feat perfectly, with the transitions feeling absolutely natural and the stories moving and real.
By contrast, The Darkened Await starts out on a summery riff, before the armada of composition comes crashing in once more. All in all, the contrast of the powerfully melodic vocals with the thrashing riff creates an enraptured feeling, with the listener feeling lost in a labyrinth of emotion and meaning. The instrumentation is absolutely uncaged and alive on this track, and it's all the better for that fact. Every movement lends to a sensation of release and catharsis, until the final moments where the guitars, drums and bass roar towards an epic crescendo, where the listener is allowed to feel all their anxieties admonished and discarded, at least for a moment. We end on the equally feverish Turn These Eyes Blind, where the sensations on display throughout coalesce and unite in a final bow. The track proves, above all that the musicians can create momentum and tension, creating a cohesive experience across the coarse of several tracks, rather than just having a collection of songs. I do feel from listening that this could be achieved across the coarse of a full-length album and I’ll be eagerly anticipating anything …And the Sky Darkened, wish to achieve next. 8/10
Cryptex: Once Upon A Time (Steamhammer/SPV) [Matt Bladen]
I've always been a sucker for a progressive rock trio, especially one that are unafraid to take risks and that seems to be what Cryptex are all about. They claim they play "beautiful, ugly, smooth, heavy, hyped, underrated, simple and complex rock music"and that's not even the half of it. What we have on Once Upon A Time is a grandiose, artistic, prog rock album that veers between the jazzy sounds of Supertramp on Body Language, some Queen-like pomp on Bloodmoon and some classic prog rock sounds on Reptiles, that brings Von Hertzen Bros comparisons. As I said the band are a trio, so when you hear the density of this record's instrumentals you get the distinct idea that they are all multi-instrumentalists Simon Moskon taking lead vocals, keys, bass, Marc Andrejkovits is has rhythm guitar, bass while Andre Jean Henri Mertens is the main guitarist having lead/rhythm & acoustic guitars. All three add additional instruments such as sax etc with Simon Schröder behind the kit. Once Upon A Time is a diverse, eclectic album, full of rock riffs, spoken word passages, theatrical flourishes (the title track) a heap of AOR for good measure too, it's one of those albums you have to listen to end to end to really 'get' it. Great arty hard rock. 8/10
BlackLab: Abyss (New Heavy Sounds) [Alex Swift]
I’ve said before that avant-garde and post-metal are an acquired taste for me. The concept behind them tends to be about creating soundscapes, which can either complement or subvert my love of melody and rhythm. And while I still love acts in the vein of Swans and Godspeed You! Black Emperor (yes, I know the genre definition of those acts could, and indeed has been debated for years), a lot of music in this vein tends to pass me by in a transcendental whirr. That said, Abyss is one such album. From the opening layers of fuzz, distorted in every conceivable direction on Insanity, I knew this wouldn’t be the type of experimental release to satisfy my craving for an emotional journey. Not only are the stratums of effects often ear grating, but these tracks tend to stay the same for the 6; 8; 10-minute runtime, making for experiences that are more frustrating than interesting.
I've always been a sucker for a progressive rock trio, especially one that are unafraid to take risks and that seems to be what Cryptex are all about. They claim they play "beautiful, ugly, smooth, heavy, hyped, underrated, simple and complex rock music"and that's not even the half of it. What we have on Once Upon A Time is a grandiose, artistic, prog rock album that veers between the jazzy sounds of Supertramp on Body Language, some Queen-like pomp on Bloodmoon and some classic prog rock sounds on Reptiles, that brings Von Hertzen Bros comparisons. As I said the band are a trio, so when you hear the density of this record's instrumentals you get the distinct idea that they are all multi-instrumentalists Simon Moskon taking lead vocals, keys, bass, Marc Andrejkovits is has rhythm guitar, bass while Andre Jean Henri Mertens is the main guitarist having lead/rhythm & acoustic guitars. All three add additional instruments such as sax etc with Simon Schröder behind the kit. Once Upon A Time is a diverse, eclectic album, full of rock riffs, spoken word passages, theatrical flourishes (the title track) a heap of AOR for good measure too, it's one of those albums you have to listen to end to end to really 'get' it. Great arty hard rock. 8/10
BlackLab: Abyss (New Heavy Sounds) [Alex Swift]
I’ve said before that avant-garde and post-metal are an acquired taste for me. The concept behind them tends to be about creating soundscapes, which can either complement or subvert my love of melody and rhythm. And while I still love acts in the vein of Swans and Godspeed You! Black Emperor (yes, I know the genre definition of those acts could, and indeed has been debated for years), a lot of music in this vein tends to pass me by in a transcendental whirr. That said, Abyss is one such album. From the opening layers of fuzz, distorted in every conceivable direction on Insanity, I knew this wouldn’t be the type of experimental release to satisfy my craving for an emotional journey. Not only are the stratums of effects often ear grating, but these tracks tend to stay the same for the 6; 8; 10-minute runtime, making for experiences that are more frustrating than interesting.
The occasional time that Blacklab conceives an idea which is interesting, such as the Gregorian female chanting at the beginning of Fade and Melt, they immediately discard the concept in service to incoherent noise. Even if *scoff, ‘that is the point’*, anything Blacklab were trying to achieve on this album doesn't rid us of the fact that this is a repetitive, irritating, and somehow incredibly boring grind to sit through. If you’re a fan of this genre, tell me, is Abyss genuinely something you would consider to be worth regularly indulging in? As far as I can tell there is absolutely no feeling scattered throughout, and if there is, the ideas are so buried that they're impossible to make out. 3/10
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