All good things must come to an end and it was a bit of an unwelcome shock to hear back in the early days of an already dismal year (again) that Phil Jonas had decided to lay Secrets Of The Moon to rest. Having moved from black to dark metal and delivered some absolutely staggering work it was decided that the Black House of 2020 was to be their last resting place bar a few final shows. But of-course we still had Crone who Phil had conceived with ‘Godspeed’ back in 2018. The debut album was another remarkable one moving further into the rock stratosphere, still dark by subject matter dealing with fascinating stories of death and suicide based on true historical events. Yes, that might not sound particularly happy but with absolutely grandiose and soaring chorus it was littered with memorable, heartfelt songs which really did carry the listener off on a soul-searching journey. Perhaps it was the fact that both bands were following the same trajectory meaning they simply could not co-exist but a burnt-out artist found himself invigorated whilst writing new material for Crone and apparently got his spark back. That spark may well have been provided partly during repeat lockdown episodes of David Lynch’s Twin Peaks where the album takes its title from (season 3, episode 8 to be specific). Lynch is a filmmaker who does things in his own way, creating universes like no other director, is Jonas and Crone along with drummer and guitarist Markus Renzenbrink, lead guitarist Kevin Olasz and newly established keyboard player Christian Schmidt worthy to walk in the steps of the auteur’s own black lodge? Let’s delve deeper.

Put simply the answer is yes, this is another fantastic collection of songs which are built from the ground up into massive swooning rock songs. This is quite honestly the stuff the deserves to hit the rafters of arenas and stadiums but don’t go thinking it is in any way like the bland, commercial denizens of such soulless amphitheatres packing them in and delivering faceless music to the masses. These songs are heartfelt and genuinely once played impossible to shift. Subject matter may well be hidden between the lines but that just makes this invigorating listening experience all the more intriguing.

Songs are not overlong either but pack so much in. Metronomic opener ‘No One Is Ever Alive’ cites a gloomy melody that might have a little in common with the likes of Radiohead and vocally of Alice In Chains but its slow burning caress is sublime and haunting. ‘Abyss Road’ completely rocks out by comparison, swaggering on glorious guitar lines, choppy drum beats and chorus which hits like a veritable freight train. It’s life-affirming as it reaches “for the stars” and takes you deliriously with it. Singing along after a few listens will be obligatory as will air guitar to the expertly unravelling guitar lines, slightly proggy exuberance and huge sense of melodicism from keyboards. It’s no one trick pony here either. ‘Gemini’ we are told is about a ‘guiding last will’ and sits upon a keyboard signature that may well have fans of The Who sitting up and suddenly taking notes. Watch the video below, epic, mature and delivered at a delirious passion. Yep, there are guitar lines straying completely into the ‘classic rock’ cosmosphere but wow, like the best examples they will knock you flat. As if that wasn’t enough how about some trumpet flowing over the top? If this one alone, just 4 minutes worth of music doesn’t make you have to get the album, well there’s little help for you.

From gorgeous acoustic origins ‘This Is War’ builds massive foundations from the ground up into a dizzying and dextrous stomp, leaving you revelling in the musicianship. Then we get frenzied post-punk on the albums fastest number ‘They’ making up for lack of titular stature with bouncing beat and rapid-fire vocals, taking off on a wild ride with another humungous chorus. Yes, you will be able to headbang and live this is going to be a stand-out moment. Balance here is perfectly poised in running order and after speed we get slower harmonies but moments of massive bombast on ‘Towers Underground’ submerging us in both gloom but at the same time buoying us with a chorus that has to be sung along at top of voice too. I expected somewhere along the lines to mention the late great David Bowie and vocally we are sometimes in the same universe here, perhaps ‘Waiting For Ghosts’ is the best example. The eclecticism of the Thin White Duke certainly lurks in Jonas’ delivery. Schmidt’s piano solo overflows with profound beauty as we question the “mesmerising” afterlife, theme of the song and the “Kids, they are alright” line is certainly not missed either.

Having lived with this for the last week and played it every day I don’t particularly want the experience to be over but will force myself to show restraint for future airings. I’m not surprised Jonas felt invigorated penning these numbers as that is exactly how listening to the album leaves you feeling. This one is very special and one to be treasured, remarkably I feel that I can’t even grieve any longer on the passing of Secrets Of The Moon; the mourning period is over.

(9.5/10 Pete Woods)

https://www.facebook.com/croneofficial

https://crone-de.bandcamp.com/album/gotta-light