By Monk
The seemingly contrasting fusion of harsh, blackened death growls with an almost angelic voice over the top of a boisterous symphonic metal soundscape is hardly a new formula and has been tried and tested to varying degrees of success over the past couple of decades. Following in the footsteps of generic predecessors such as Lacuna Coil and Leaves’ Eyes, Swiss dark metallers Askara are the latest act to try and strike the fine balance of such stylistic blending.
Following the (almost) obligatory atmospheric intro, Askara show a far from neutral approach, going on the offensive early with the suitably menacing growl of Elia Scmidt setting the tone for the heavier end of the musical offering we have before us, the heavy melodeath feel belying some of the subtlety that is to come as the album progresses and his wife Miril slowly eases her way into the more underlying atmospheric elements of what is on offer.
I must admit that it does take a while for this album to get off the ground and work its way into ye olde aural consciousness. The first two tracks, ‘Nocturne Of Cold Mystery’ and ‘Through Fire’ sort of pass you by, with the feeling that the band are still working of fulfilling their full potential. But that takes a massive step towards its (self)realization on the punchy dramatics of ‘By God’, when Miril really starts to take possession of her role and stamp a much-needed feel of delicacy onto the brutality of what has gone to before. By the time they reach the positively prog-tastic ‘To Alisa Rock’ (well, it is three seconds short of nine minutes long), the balance has been well and truly struck and the contrast possesses an equilibrium that is as finely tuned as a pedigree sportscar fresh from the showroom.
Miril really comes into her own on the haunting ballad ‘Hibernation’, which kicks off the second half of the album in beautiful style, built over a piano and strings accompaniment that would easily rival anything in the back catalogue of the likes of Amy Lee for one. In fact, the second half of the album very much proves to be worth the wait, as it features stunning back-to-back performances from Miril, with ‘Haunting’ leading into the grittier, operatic ‘Dark Night Of The Soul’, which sees her husband’s death growling subsumed to a much more secondary role than that which he had enjoyed in the first half, and all the more effectively so.
Ironically, just on the cusp of the album’s release, drummer Raphael decided to step away from the band, which is a real shame, as his performance is truly a powerhouse one, intricate and decimating in equal measure, combining power and eloquence with easy aplomb. If this is his legacy performance, then it is one of which he can be justifiably proud. As can his now former band mates, as ‘Lights Of Night’ may be something of a grower but it is one which is worth nurturing, especially in terms of its second half.
- ‘Lights Of Night’ is released today (Friday 8 April). You can get your copy HERE.
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