When I first put on this album, the weather had just turned, gone were the last days of summer, and autumn could be truly felt and seen in the miserable skies and wet days, making this forlorn and bleak album all the more appropriate to listen to. It’s the debut of the Finnish quintet formed by Jaani Peuhu (Vocals, Guitars, Synths) and containing members of several other bands, Jussi Hämäläinen (Guitars, Synths, Backing vocals), Juppe Sutela (Guitars), Ande Kiiski (Bass) and Jaska Raatikainen (Drums), following up after the release of an EP in 2020.
The album opens with “The Gates Wide Open”, where tribal sounding drumming is joined by chanting followed by melodic guitars and keyboards before clean but anguished vocals blend into the multi-layered song as it meanders along slowly but full of emotion.
There is a catchy chorus on “Black Mirrors”, as well as a lively tune which rears its head at the same time, even though the song itself isn’t terribly fast paced, when compared to other tracks it is definitely upbeat.
The lovely warmth of the bass fills out “You Open Up The Earth”, as the slow tempo of the drumming lets the gently strummed guitars build in intensity without ever increasing their pace, before the lead works in its melody to give the song even more body.
The title track “Killing Moons” has a strangely dancey rhythm to the drumming, while the synths appear to rise and drop out of the mix while the guitars are mostly just holding notes in the background forcing all emphasis on the layers of vocals that have a melancholic haunted quality to them, making the song even more atmospheric.
The female vocal harmonies are a complete juxtaposition to the heavier guitar riffs used on “Seven Archangels”, but only when they come in in full force, for the most part the guitars are sustained below the steady tempo beat which the cadence of the vocals follow.
What could be a harp and an artificial voice are the intro to “Call On The Dark” before the keyboards become the main instrument being accompanied by the drums as the vocals pick up in intensity where the driven guitars emphasise their delivery.
A doomy guitar riff fades out to allow a cappella vocals on “Avalanche”, which are once again accompanied by the guitars over a slow tempo and full bass as the song plays on.
No idea why, but “An Arrow” reminds me a little of The Mission as the slow moody guitars and vocals have the slightly more intricate drum patterns rolling behind them, which allow for the keyboards to build up nicely and elevate the song.
The far more allegro “Like Matches” has an upbeat drum tempo which somehow makes the vocals take on a gaiety which isn’t present on any of the other songs, along with Cammie Gilbert’s (Oceans of Slumber) vocals working really well with the guitar rhythm.
The album ends with the nearly 10-minute epic “Death Poem” which has the guitars gently flowing around the sweeping synths as the vocals have a haunted quality to their emotional delivery.
I enjoyed the album thoroughly as it uses atmosphere to convey the heaviness but is filled with melodies that make it really easy to listen to repeatedly.
(8/10 Marco Gaminara)
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