By Monk
As regular readers will be aware, Ravenlight occupy something of a unique position on the Irish rock scene, both north and south of the border, being the only female-fronted symphonic metal band on the island to have made their stamp and planted it firmly in both our aural and visual cortexes.
Over the past three years, the band – centred around guitarist/composer John Connor (and, yes, I’m going to eschew all ‘Terminator’ references this time around… well, maybe not!) and singer Rebecca Feeney – have been slowly establishing themselves as a force de majeure on the Irish circuit, with even the most diehard of extreme metal fans being won over by the sight and sound of a woman in full evening dress hitting notes that reach to Valhalla itself, backed by some of the most precise, choreographed musicianship you’re likely to hear this side of… well, every precise, choreographed symphonic metal band you care to name.
Now, don’t get me wrong: I’m not criticizing Ravenlight for the what they do in the way that they do it. I mean, how many symphonic metal bands can you name that actually use full symphonics? Yeah, I thought so. But, this album does present me with a small problem: and that is the fact that, once again and in common with so many albums produced within this specific sub-genre it beggars the question how to balance passion against precision, art against artfulness, craft against craftsmanship. Get that fine balance wrong, and it can come across as too precise, too artful, too crafted…
There is a saying about not shitting in your own backyard, and that you should always “big up” bands from your own locale, but I’m a great believer in being honest, and in that spirit I have to say that, to me,on my first couple of listens, ‘Immemorial’ did indeed very much threaten to veer into the latter halves of my above comments. In fact, my initial reaction was that it was everything I dislike about this particular genre: it was too choreographed, too programmed.. it was just missing that vital spark. Yes, I agreed that it was a good album, stunningly constructed, from the way in which obvious show opener ‘Masque Of Red Death’ crunched in before contrasting into the operatic vocals overlaid against a backdrop of DM blastbeats, all in true, characteristic symphonic metal style. Yeah, I liked it. But maybe not enough to give it a second listen…
But then I did just that. And then I listened to it again. And, you know what? It really started to grow on me. Yes, this is one of those albums that you can only describe as a burner. Put it on a low heat and let it simmer. Let it slowly mature and its flavours meld and imbue into one another. Like a good stew, it develops by being left in the pot overnight and then served up the next evening, with a nice glass of Merlot to wash it down…
The one indomitable and unquestioning factor is that Rebecca’s vocals once again are superb and at times soar to the sublime, to a level that is definitely, and defiantly, up there with some of the bigger, and indeed biggest names operating in this genre, lifting what could definitely be seen as some fairly standard, run-of-the-mill background moments out of the mire and into the sunlight. And there are some really good songs: the aforementioned ‘Masque…’, ‘Reflections’ and ‘Spirit Of Life’ will undoubtedly open up some pits when played live, while ‘Paper Ships’ and epic closer ‘Springtime Lament’ (with its beautiful poetic recitation) are both excellent representations of the genre, combining atmosphere and grunt with the skill of a Michelin-starred chef (fuck, this review is making me hungry).
I know I promised no ‘Terminator’ references, but Ravenlight are back… and they’re not going away anytime soon. But, guys, please get a keyboard player for your live shows… Tapes and triggers are fine, but an ivory tickler… ooh, baby 😉
- ‘Immemorial’ will be released on 27 January. You can get your copy HERE.
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