In the latest edition of ‘I Can’t Believe It’s Not Swedish’ we actually have a band from Switzerland, Stortregn. Everything about this album screams at me that it comes from the Swedish black and death metal scene of about 15 years ago right down to the classic looking cover by none other than Kristian ‘Necrolord’ Wahlin. Play is pressed and there is certainly something grotesque (in a good sense) going on here from these great deceivers (see what I did there) but seriously folks when it is done this well who cares what country it comes from. Switzerland is after all famous for cuckoo clocks and we all know what mischief those cheeky birds get up to rather than feathering their own nests. As for Stortegn themselves with words stating that their influences come from the likes of Dissection, Naglfar, Watain and Necrophobic it’s not like they are denying anything. This second full length album from the band really made me want to blow the dust of a fair few other groups who I have not heard in a while but all attention has been on ‘Evocation Of Light’ the last few days and with it playing it’s not like I have needed to anyway.
Some lovely acoustic fretwork starts this journey much in the way of the very early and much missed good work from the likes of In Flames. When songs like ‘Inner Black Flame’ dispense with these parts they really go for it with a meaty bounce about them which is pretty impossible not to go crazy playing air guitar to. Their melodic blackened death certainly cites many of the aforementioned acts and does so with a fervent hunger and great appreciation of harmonic licks as it furrows away. Vocalist Romain has a good gravid roar about him and there are no shortages of guitar solos and pulverising rampant drum salvos. Listening to the manic guitar on the title track there are many names on the tip of my tongue apart from just the cult acts. At The Gates are heavily paid tribute top along with the likes of early Arch Enemy, The Haunted and Witchery and with names like that, this can’t be bad at all.
The songs don’t really slow down but keep coming in a fast and persuasive fashion, galloping along and cleaving away. Even when things do the heaviness is ever present and you are well aware that you are mere moments from the next big surge. A chance to catch breath comes with another folky, acoustic guitar passage ‘A Mournful Saraband’ before ‘So Much Dust’ has the guitar weeping in and then swiftly everything is obliterated with powerful drum blows and beastly death laden vocals.
This is most definitely not going to be the most original album you have heard but in a way that is almost part of its charm as it is instantly identifiable and very quick to get to grips with. It’s also full of life (or should that be death) and a very short, sharp, snappy listen which is the perfect running time and doesn’t overstay its welcome in the slightest. Thanks for showing us the light!
(7.5/10 Pete Woods)
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