Adrasteia - Kawir
- Release date:
- January 10, 2020
- Iron Bonehead
Rarely better than good
Adrasteia sounds in all ways, as a folkeinspireret black metal album. Classic heavy metal mixed with black metal, especially the lead-guitar is in focus. Unfortunately steeped in the music is not of great inspiration, since the term is not really furious, not really epic and not really progressive. Several pieces are pulled out with very little variation, just like the album has its share of not so exciting riffs. The six-minute folk get the album to run out in the sand prior to the otherwise good ending, and as a whole fluctuates, the album itself rarely up over "good".
I have a secret: I know nothing about hellenistic black metal. Nothing about Necromantia, nothing about Varathron, nothing about Rotting Christ and Kawir. The latter, however, I would rectify in the following, since right now you are current with the eighth studio album since the formation and førstedemoen from 1993. Adrasteia is named after the nymph who raised the infant Zeus in secret to protect him from his father, the titan Kronus. Kronus led, as you know, the same fate as his own father, Uranus: To be overthrown by his own son; on top of that imprisoned in Tartarus. Ah yes, Greek mythology is far more exciting than the christian. Unfortunately, living Adrasteia not up to the inspiration.
Stuck in the competence
Adrasteia feels like an album of the people, who know their style and know how the music should sound. It is competently. "Tydeus" builds the briefly up with the chanting choral parts, which soon gets the support from the orchestra in a heavy heavy/doom riff. Which opens the piece is excellent, but the longer it dragged on, the greater will be missed by intensity; a build-up beyond redemption. It takes two whole minutes for the group to change the riff, and even then replaced a lavintenst piece of another. Later into the song, finally up the tempo with a dotted heavy metal riff, which delivers too little too late.
"Atalanti" screws up correctly for the intensity through the diligent blastbeats and dobbeltpedaler as well as the tremolo-based riffing. Unfortunately commit the same mistake as the opener; namely, to be stuck in åbningspassagen for a longer time than it should. We need to go to the "Danaïdes", before the album really hit the spot; Nothing dragging on unnecessarily, the themes are furious, kontraststykkets weight seems quite natural in the song's flow, and the different pieces sound different. The song lasts even a minute shorter than the previous two, even though it creates significant more.
... And then there's the penultimate song, "Colchis". Barely six minutes with acoustic folk music played with different clean female vocal parts. The song contains three identical pieces in the same three-quarter-pace, and it's a struggle to pay attention long enough to be able to write about it. The group makes the finisher "Medea" a disservice here, since it will be an uphill battle to get engaged listener again. "Colchis" could certainly have served as an interlude on the few minutes, but as it stands, depriving the Adrasteia , all forms of propulsion.
To be fair, there are good passages on Adrasteia. The end of the "Atalanti" hits the right level of epic-sounding heavy metal, and forcing my attention back to the music. Both "Limniades" and that ends, "Medea", is good black metal songs, and could probably have taken the great on an album with better momentum. The production is also a nice balancing act; It is not archaic lo-fi, but also not contemporary exaggerated. As such, there is room in the soundstage for all instruments. Finally, make the vocals a good figure the album out, like the melodic guitarstemmer borrows nicely from the 80's the heavy metal wave.
>> Check the songs and lyrics here