ALBUM REVIEW: Lotus Thief, "Oresteia"

By: Josh McIntyre

Album Type: Full Length

Date Released: 10/01/2020

Label: Prophecy Productions

“Oresteia” CD//DD//LP track listing:

1). Agamemnon

2). Banishment

3). Libation Bearers

4). Wow

5). The Furies

6). Reverence

7). Sister in Silence

8). The Kindly Ones

The Review:

Lotus Thief bring me back to when I was a teenager and fascinated by the likes of epic and poetic metal bands like Opeth and Agalloch. Their sound is expansive, thick, and layered. The songs ebb and flow together to create a vast, artistic album that truly sounds dramatic. It’s quite appropriate that this, their third LP, retells a classical Greek trilogy using a doomy, blackened soundtrack.

If you’re not versed in Greek tragedy you can skim the Wikipedia article for Aeschylus' Oresteia (like I did) to get an understanding of the lyrics. It follows Agamemnon as he returns home from the Trojan War and involves a cycle of murderous revenge. The music is naturally as dark and forceful as is necessary to do the narrative justice. What I really want to point out, though, is how melodic and accessible this record really is. Yes, it is heavy music but the focus here is completely on the songs themselves as parts of the overarching story. We don’t, as listeners, feel an urge to focus on any particular riffs, instead we lean into the progression of each musical piece as it pushes forward like the chapter in a book. Even the more ambient interludes dive us deeper in, brilliantly flowing the longer songs together in a cohesive manner. 

“Oresteia” just sounds good. The production is relatively clean as each musical layer is quite apparent, nicely sitting in the mist together. At no real moment do any instruments distract from the purpose of each song, even during the more aggressive black metal styled sections, and I mean this as a salute to the band’s commitment to driving the narrative to the listener. Sometimes it is best to just stay back and let the song simply exist. The vocals here are absolutely wonderful.  Bezaelith’s melodic and powerful performance across the LP, particularly in “Libation Bearers” and “The Furies,” is what really sells it. Vocal lines are about as confident as one would think is needed to call upon Greek deities to engage in very human affairs of vengeance. 

Lotus Thief deserve to be appreciated by both the underground and more mainstream metal worlds. It would make perfect sense for them to tour alongside larger names such as King Woman or even Alcest. They really hit the mark on creating melodic dark music that, though it doesn’t necessarily have many hooks, could be appreciated by any fan of alt rock that can tolerate a little bit of growling vocals. What I most commend here is the ability to write an album that feels this way while still offering a sense of genuinity. It really feels like Lotus Thief are doing exactly what they want to do. 

“Oresteia” is available HERE

Band info: bandcamp || facebook

ALBUM REVIEW: A Pale Horse Named Death, “When The World Becomes Undone"

By: Elliot Paisley


Album Type: Full Length
Date Released: 18/01/2019
Label: Long Branch Records

A bold and defiant display of the group’s collective talents, “When The World Becomes Undone” highlights the strengths of his band – atmospheric build, riffs and conviction in performances.

“When The World Becomes Undone” CD//DD//LP track listing:

. As It Begins

2. When The World Becomes Undone

3. Love The Ones You Hate

4. Fell In My Hole

5. Succumbing To The Event Horizon

6. Vultures

7. End Of Days

8. The Woods

9. We All Break Down
10. Lay With The Wicked

11. Splinters

12. Dreams Of The End

13. Closure

The Review:

Formed in Brooklyn by one Sal Abruscato, A Pale Horse Named Death have come to be viewed as the spiritual successor to Type O Negative, one of the finest metal bands of the 1990s. The primary purveyors of sexual synth-laden gothic doom metal, they released a string of classic albums, complete with sludgy pop-covers and 11 minute odes to hair dye. Their career was tragically cut short by the untimely death of their enigmatic frontman, Peter Steele, following the release of their splendid, but unintended and absurdly underrated swan-song “Dead Again”. The band rightly saw no future without him, and they ultimately dissolved. A Pale Horse Named Death have been hoping to carry on the legacy of the legendary group who preceded them, and “When The World Becomes Undone” is their first effort in 6 years.

Despite being only present for the early days of Type O Negative, Abruscato had an immense impact. On 1991’s savage and menacing “Slow, Deep and Hard” and the follow-up, 1992’s delightful faux-live album “The Origin Of The Feces”, complete with fake boos from the crowd and the production credit for notorious 19^th century freak-show ringleader P.T. Barnum, the unmistakeable groove of Abruscato propelled this New-York gothic-doom four-piece. He was essential in turbo-charging their music to its explosive limits. They were certainly a curious commodity, but it was only with the release of 1993’s “Bloody Kisses”, a wildly inventive breakout album, that the band reached their final form. It would prove to be the final album to serve Abruscato, who would go on to be replaced by Johnny Kelly (although the band, rather insultingly, would often employ a drum machine in the studio).

It is a surprising turn of events then that Abruscato and Kelly have joined forces, with the former taking vocal and guitar duties while the latter remains behind the kit. The remaining line up has seemingly been a revolving of accomplished but obscure musicians, and perhaps it is for this reason that A Pale Horse Named Death are seen as the successor of Type O, for it certainly isn’t the music.

There are some similarities; the music is not short of riffs, they are unafraid of the use of the synths, and the band are happy to take their time reaching their destination. However, even within these common links, there are differences which make themselves immediately clear. Type O’s unmistakeable chamber synths have been traded for more organic, authentic lavishes of instrumentation, as shown most effectively on the title-track. Furthermore, the riffs present on “When The World Becomes Undone” lumber more than they slam, and individually, the songs present less variety. The band are likely to take an idea to its logical conclusion rather than surprise the listener. This is by no means a negative trait, in fact this is often the norm in doom metal, and in this case it even shows APHND stretching their wings.

The album highlight, “Splinters”, calls upon the more recent work of Amebix as well as Danzig’s classic era. A bold and defiant display of the group’s collective talents, it highlights the strengths of his band – atmospheric build, riffs and conviction in performances. This is a key example of them playing to their strengths, and it would be wise of this group to continue to experiment in this realm in the future. By diluting the direct Sabbath influences with punk and gothic influences, the band distinguish themselves from their countless and often unremarkable peers.

The album does suffer some fatal flaws however. Vocally, the band are lacking all the necessary charisma. Despite all the best will in the world, people are always going to compare this group to Type O Negative, who boasted one of the most alluring frontmen of the decade in Peter Steele. Boasting an irresistible dry wit and knack for language, often delivered in his haunting baritone, his charm was one of the primary factors for their success; one need only watch his now infamous appearance on Jerry Springer, where he manages to seduce a crowd of conservative women itching to boo him, to see how potent he was in this regard. This may seem a miniature aspect to the band, but it was the root of much of their appeal. Here however, Abruscato doesn’t have nearly the same talent. He’s a passable frontman, but it does prove a sore point for both the band and the album.

The band suffer their lack of charisma when compared to Type O Negative, but even when analysed as their own entity without the weight of history on their shoulders, the band don’t stand out in the way they ought to. Despite boasting decades of experience among them, the band struggle to establish a personal identity, and in a style of music seemingly as stagnant as this, it proves to be problematic. The band are a perfectly functional supergroup, but they never do enough to escape the shadow of their history, and it does often taint the listening experience.

A Pale Horse Named Death are unlikely to ever be held up as an extraordinary, or even significant, band, but perhaps that’s not their purpose. Perhaps they are to be remembered as a perfectly functional doom-metal supergroup who possess moments of true greatness. There’s enough on “When The World Comes Undone” to suggest they have room to grow, and that’s an admirable trait. The band also show sustained conviction, a quality often rare in super-groups. The band sound hungry, and that takes them a long way. While the final product is a mildly underwhelming presentation this time around, there is still hope they will capitalize on their cumulative talents in the future.

“When The World Becomes Undone” is available HERE

Band info: bandcamp || facebook

RIFF REWIND (18/08/2013): Secrets Of The Sky - "To Sail Black Waters"

Three of the band’s six members each contributing with multiple instruments, SECRETS OF THE SKY projects a unique brand of cinematic, cerebral, atmospheric metal with a heavy persuasion towards doom metal and even more blackened influences citing The Ocean, Opeth, Isis, Agalloch and others.

The debut album from this new by this sadly missed act, “To Sail Black Waters”, was recorded over an eight month period with engineer/producer Juan Urteaga (Testament, Machine Head, Cattle Decapitation) at Trident Studios, the massive album boasting SECRETS OF THE SKY’s entirely modern and unique back-bending of elements from a multitude of genres. With up to three guitar tracks, two and three keyboards at a time and a multitude of vocal styles — clean and epic lines against hollow and blackened battle cries and crushing, low-end growls — the band creates huge build-ups and epic movements as expansive as the cosmos.

Today we’re rewinding back 4 years, with our original review of a review of SECRETS OF THE SKY’s phenomenal debut “To Sail Black Waters”, So if you overlooked this band/album, be sure to remedy your error by checking out our review and the record is streaming in full below

By: Richard Maw

Album Type: Full Length

Date Released: 8/10/2013

Label: Kolony Records

If you are looking for a record that is a little different with elements of multiple sub-genres, give this album a try. Truly accomplished stuff and, yes, mesmerisingly bleak.

“To Sail Black Waters” CD//DD track listing :

1. Winter

2. Decline

3. Sunrise

4. Black Water

The Review:

Epic progressive doom with blackened influences and aspects. So what do you get for your money. You get four tracks- the shortest of which is (7.43) long. This Oakland CA six piece know what to do with the time; each track is expansive, multi-faceted and will hold your interest. It's bleak stuff, which does not sound very Californian. Then again, I suspect much of Oakland isn't exactly how you might imagine/want California to be.

“Winter” comes in over the nine minute mark with a suitably icy sound. Screamed and low vocals trade off while the guitars range from melodic and mellow to positively feral. The production is pleasingly clear and bright- but still raw and grimy enough as to be appropriate.

“Decline” is mesmerising in its bleakness (that kind of sums the whole record, to be fair). It continues and indeed expands on the opener. Clean vocals add a Gothic aspect (think Type O, not The Cure) that is unique and welcome. Keyboards add another layer to the sound as the guitars weave together expertly. This is brilliant stuff. The pace is slow but fluid and the generous 12 minute plus length of the track allows you to really get into this most unusual of sounds. The final 3 minutes plus are even heavier than what goes before and features an excellent riff prior to the track breaking down.

“Sunrise” starts with a lumbering doom riff (backed with an interesting keyboard counterpoint) and thereafter dynamics are used effectively with some truly unpleasant vocals too. Again, there is a definite gothic influence here (to my ears, anyway) and I like it. The opening riff gets returned too; this is not just progressive “throw anything in” writing- the tracks work as pieces of music and structured songs.

“Black Waters” at (11.22) closes the album is impressively expansive style. The intro builds things very nicely as the crystal clear drums crash in with a well worked groove that the bass propels along until the vocals come to the fore. Real heaviness follows with those black metal-esque vocals ripping out of the speakers. The track then twists and turns its way along numerous pathways before stripping away towards the end.

If you are looking for a record that is a little different with elements of multiple sub-genres, give this album a try. Truly accomplished stuff and, yes, mesmerisingly bleak.

Band info: facebook

G.E.N – “No Ink for a Selk Portrait - Album Review

G.E.N – “No Ink for a Selk Portrait – Tracklisting

1. Monologue of an Isolated Man Part I

2. Shadow of Light

3. Dead Tears

4. Catarsis

5. Monologue of an Isolated Man Part II

6. Farewell

7. Manifesto

8. Epilogo de un Retiardo

Bio

G.E.N. is a Chilean band formed in 2011 in Santiago, where his main purpose is to develop a modern and particular metal music concept, influenced by genres such as Death/doom, post doom and gothic. A particular feature is an existentialist lyric proposal and a dramatic theater concept in their live performances.

In December 2012, G.E.N. edited their first EP called "Manifesto", recorded,mixed and mastered at VNA Pro Studio, Santiago Chile. This material was published in January 2013 in digital format, distributed in USA by Digmetalworld Records.

In January 2014, the band finished the edition of their new LP album called "No Ink For A Self Portrait", recorded, mixed and mastered at 15 Hz Studio, Santiago Chile. Nowadays, G.E.N is working on the launch of the new material and also signed their first contract with the mexican label Sun Empire Productions for the publishing and distribution of "No Ink For A Self Portrait"

Band Members

Andrés Munster (Vox)

Javier Niemann (Lead Guitar)

Cristobal Emparan (Rythm Guitar)

Ignacio Urqueta (Bass)

Tomas Quiroz (Drums)

Review

Today, for no one is unknown the boom that is taking up the Doom Metal and its subgenres worldwide, this rebirth that comes from the hand of such major releases like the new album by the masters Black Sabbath and their acclaimed album "13". It´s a phenomenon of which Chile is no stranger, it is known that our beloved national scene has an international reputation particularly around this genre, as a result of the significant musical contributions from bands like: Poema Arcanvs, Mar de Grises, with certain nuances Uaral and the ever increasing new generation with bands like Aura Hiemis, Mourners Lament, Lapsus Dei, Opus VII, A Sad Bada, Endymion, Afterworld and several others.

In this select group and with only 3 years of existence, highlights the great work of the Post Doom / Gothic Metal Chilean band, G.E.N which we heard in first instance with its EP "Manifesto" which was released in digital format and distributed in the "States" through Digmetalworld Records. On this occasion, exclusively, we are pleased to share with you his tremendous debut album entitled "No Ink for a Self Portrait", release which its part of the diverse catalogue of Sun Empire Productions (Mexico) and consists of 8 songs that take and immerse us in a world of intense emotions with heartfelt lyrics that speak of pain of loss and the systematic alienation to which we are exposed today, where the music moves through acoustic passages of almost ethereal subtlety, which in turn are a faithful representation of the melancholic picture of G.E.N and are part of a sound language where duality between melodic and rhythmic intensity coexist in equal terms, part of the great merits of the band.

The album begins with the excellent "Monologue of an Isolated Man Part I" theme that demonstrates the very good management of the dynamics by G.E.N, with a progressive increase in the intensity of the track expressiveness, melodic string lines well connected, Post Rock scented, a successful percussive work that begins with a well-chosen set of snare-drum rolls for a premeditated change of intensity to wander sublime moments of sadness and provocative reflection, this adds to the versatile and solid vocal work of Andrés Munster, that reminds me in a good manner, the pleasing clean voice style, and phrasing of Aaron Stainthorpe of My Dying Bride, which is an influence that the band admits, and that is evident throughout the album, with the great exception that G.E.N to me has a more Gothic (dark) and atmospheric essence comparatively to the English masters. Continuing with this great start, "Shadow of Light" appears with a more Doom / Death character, basically by the increased presence of choppy guitar riffs, interspersed with bridges or transitions of clean guitars.

All this supported by the excellent rhythmic base of Thomas Quiroz (drums) and Ignacio Urqueta (bass), along the prevailing melancholic elements both vocally and musically, allowing you to connect naturally with the "emotional force" of the band. With the suggestive title of "Dead Tears" the third track shows how well done this album is, expressive and rock solid on the structural, evokes in my opinion to other influences that the band recognizes, which is the band Katatonia (old), particularly in the "Brave Murder Day" era. Thus we reach the middle of this outstanding work, to meet with one of the best track of this album, entitled "Catharsis" and I think the name might not be another, given the effect of their successful dramatic development that occurs from Calm subtle guitar chords, to fire starting drum time progressions with interesting patterns with double pedals, toms and snare drums, all accompanied by harmonies and melodies that radiates a certain anger and contained sorrow, in vocal terms this track consolidates Andres Munster style and dramatic intensity.

"Monologue of an Isolated Man Part II", another of my favorite tracks; appears as a natural continuation of the first part, with a funeral mood and Munster voice as a guiding light, in a rhythmic tempo that exudes profound sadness and agony, this atmosphere melts as a single core with the remarkable string work of Javier Niemann (Lead Guitar) and Cristobal Emparan (Rhythm Guitar), having the good taste to deal with the intensity required for each track, having a measured and effective use of effects that seek to complement the sonic proposal of G.E.N, which is efficiently achieved in a wide stylistic spectrum. "Farewell", "Manifesto" and "Epílogo de un Retirado" are the final triad and offerings of this great album, all of which preserve a common element in the proposal of the band, which is the constant interplay of dynamic, tempo and intensity changes, strength in the individual instrumental performances, coupled with the dramatic and interpretative stamp which Andrés Munster imprints vocally, I unequivocally believe that "No Ink for a Self Portrait" is certainly eligible to be classified as one of the best releases of the genre nationwide this year, and has enough quality to be positioned in advanced ranks in the competitive international doom scene. Finally, for all those who enjoy and support the real underground, please take the time to check this out, you won´t be disappointed.

G.E.N Facebook: https://www.facebook.com/genbandachile

G.E.N My space: https://myspace.com/genchile

Written by Raúl Valenzuela