‘The Colossal Void’ has some serious Dimmu Borgir -esque grandiosity fused with technical metalcore, the swirling maelstrom trapping all in its techy, icy embrace.Īs the album continues, there’s flashes of brilliance in the melding of genres, such as the aforementioned ‘Becoming The Eidolon’ and ‘The Colossal Void’. It’s a weird choice that doesn’t quite seem to fit with what’s come before and while it’s clear there’s plenty of musical ambition and talent, it doesn’t entirely stick the landing.Īs Fixation progresses it finds its feet better ‘Becoming The Eidolon’ has some serious groove to its blackened metalcore, throwing in progressive tendencies and some lush, classically-inspired instrumentation along with the symphonic elements. It sits before a moment that wouldn’t be out of place on a modern deathcore album, before the song ends with electronic drumming. There’s an off-kilter riff underpinned by blastbeats just past the halfway mark that balances the blackened elements with the metalcore very successfully. The title track does a far better job, introducing more symphonic elements and a broader spectrum of sounds including cleaner vocals fed through a synthesizer that gives a somewhat robotic feel to them.
#Ash and ember review full#
As far as introductions go, it attempts to set the scene but doesn’t quite showcase the full range of 鬼’s ambitions. After this though, it picks up into a stomping groove with acerbic howls before breaking down once more. Opener ‘Strychnine’ starts with eerie chimes and whispers that heralds a dissonant, chugging breakdown. It’s a howling storm of frosty black metal, piercing screams and breakdowns in one incredibly ambitious package. Take the second album Fixation from the musical mastermind known only as 鬼, released under the moniker The Ember, The Ash. As incongruous as it sounds and as unlikely as such a combination is to work, work it does. Now take all of that and inject it with the kind of breakdowns you’d expect at a metalcore or deathcore show.
The blackened tremolo riffs, the symphonic bombast and majestic soundscapes. Picture, if you will, the grandiose soundscapes conjured by bands such as Dimmu Borgir or early Abigail Williams.
FFO: Dimmu Borgir, Abigail Williams, Lorna Shore
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