‘Colossus’ is the sophomore release by the California-based symphonic death/black metal band that was originally formed in 2016 as a solo project by multi-instrumentalist Kiera Pietrangelo, before the success of the debut in 2017 required a full line-up. While guitarist Chris Zinnanti has left the band, he laid down all his tracks prior to his departure, allowing Kiera’s guitar and bass to be mixed with Jade Ordonez’s vocals, Becca McCabe’s clean vocals, keyboards and harp, and Harley Blandford’s drums by Nick Loiacono at Fang Studios, where he also mastered the album.
It’s a concept album about a cult’s journey through a mystical land on a quest aimed at reaching the Colossus castle, with each song a struggling step along the way, be it internal or actual.
Opener “Mystic” could easily have been taken from the score of a film with its grandiose orchestral swathes and choral vocals, but as soon as the drumming picks up the pace and the growls come in, you know what you’re in for, but it doesn’t make the transition back to keyboards and soprano any less dramatic or serene when the harp takes to the fore.
The somehow vampyric sounding harpsichord takes into “Sovereign Blood”, where I somehow picture a manic figure in 17th century frills banging on a teeny-tiny piano while the blast beats on the drums and distorted guitars, with a lead by Bobby Carroll, try drown out the tinny tinkling.
Stepping things up to a completely new level, “Transmutation” has an epic lead break while the drums try to obliterate everything in their path but fall just short of being able to overpower the death growls before the pounding is pulled back to allow the keyboards to bring forth harmonies and melody of the clean vocals while the constant kick drum continues at full pelt.
“Formation” is the shortest song on the album and has a steady paced tempo filled with heavy growls that subdue to become operatic singing on what’s really just an intro to “Conclave”, where harsh rasping vocals are littered with furious screams and screeches accompanied by both growls and soaring soprano, all over the orchestral keyboards and frenzied guitars and manic drumming.
The undercurrent of the piano on “Scroll of Augury”, with the violins just below them in the mix give the song the added horror film score feel that the rest of the symphonic black metal song uses to perfection.
On the other hand, “The Altar” is a black metal attack of guitars, drums, and growls, before the keyboards and clean vocals take the sting out of it, only for them to be smothered by the aggression once more.
Another short song filled of ambient sounds like church bells, “Enchantment” is still full of punch, but the way the dual clean and death vocals are blended for the chorus is particularly well done.
Another lead by Bobby Carroll on “Castle on the Hill” gives the song a bit more flavour to go with the thumping kick drum and strong rhythm riff.
Sounding a bit Casiotone, the keyboards start off “Conducting the Scourge”, before the sound gets fuller and heavier with each added instrument, however it’s the staccato of the chorus that lingers long after the song is over.
Title track “Colossus” is very power metal sounding, if it weren’t for the abrasive death vocals and twang of the harp, but all that does is add to the grandeur of the song itself, especially when the clean vocals come to the fore.
Penultimate track “Beneath Withered Stone” is another short interlude where the music is fairly mellow, while the vocal delivery is anything but. However when the operatic vocals take over, the guitars and drums really kick into gear before the final instrumental song, “A Light Between Realms”, wraps things up with a serene piece of music that would easily fit on any fantasy adventure score.
An excellent album and easily enjoyable by anyone that likes a good melody with a brutal aftertaste.
(8/10 Marco Gaminara)
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