I didn’t think this Greek band could ever surpass the delights shown on their last album ‘Eden In Reverse’ but I was clearly very wrong about that assertion as the band has taken their creative genius another step forward for this sixth spellbinding album. This latest opus is different yet similar to the previous album ‘Eden In Reverse’ (I’m not including their one off release of electronics/synthwave titled ‘Mannequins’ as the last album since it is so different to their normal material), the progressive elements are firmly intact but ‘Fossil Gardens’ feels more aggressive partially due to the more prominent black metal textures but also the production which is phenomenal.
Opening with ‘Starfront Promenade’, its gentle almost soporific toning has touches of Anathema and Antimatter to it, especially with the haunting clean vocal line. As the metal thrusts into view there is a certain gravitas you can feel here and throughout the album as it unleashes a scintillating black metal blast assault along with a fine vocal scream. There is a soaring aura to the opener that threads throughout this release as the band adds their own inimitable twists and turns via the exquisite guitar work and clean vocals which make this an awesome opener.
‘The Temple Of Curved Space’ is the first of three epics as the eerie intro sequence surrenders to the melodic black metal riffing replete with 80s like synths. The clean vocal adornments elevate everything beautifully as the ever evolving dynamics sees the song add in blast beat forays and harsh vocal nuances. The way the band makes the song have an almost sci-fi texture is staggeringly effective and hints at the bands lyrical context of the Universe and consciousness and how they relate to each other. The delicate keyboard work is ever prevalent adding considerable depth to this and all the tracks on offers as ‘Curse You, Entropia’ is next. With a keyboard intro the acoustic guitar work is sublimely added as the pace is reined in here allowing the dense opulent production to stand out hugely. The harsh vocals ingrain their layering as the synths edge the tune into progressive realms. As it develops the tension is palpable especially with the increase in power and density affording the song the ability to swerve and deviate around its central riff focus.
‘The Blue Dot’ has a short intro phase before a full progressive riff filters in right before the switch to a more atmospheric black metal styling that reminded me of acts such as Regarde Les Hommes Tomber. The song plunges into more traditional black metal realms with the introduction of harsh vocals but coupled to the wonderful guitar hook that pervades. Even as the song shifts into blast beats there is a masterfulness here that ensures the song is breath-taking, especially with the soaring clean vocals. At over ten minutes ‘The Road To Awe’ is as ambitious as anything the band has ever written, the fade in of atmospherics is mournful linked to those superb clean vocals that give the song a haunting aura. As the bass and drums enter the fold the gentleness of the melody is blended to the keyboard work. There is so much to absorb here that you can end up focusing on one aspect on one listen then a different one the next time. As it progresses the black metal is unleashed with astounding causticity that fans of atmospheric black metal will absolutely appreciate.
The closing two songs consist of the interlude piece ‘Ludwig In Orbit’ and the title track where the former offers a bridge to album’s epic finale. Being an interlude it is eerie yet captivating before the title track softly enters the fray with a brief spoken narration piece before the black metal nihilism. Entrenched with an atmosphere of keyboards the song almost listens like an instrumental due to the vocals being spoken and placed lightly in the mix. After about 100 seconds or so the song switches to normal harsher vocals yet retains the blasting speed that was unveiled at the start. Adding in those exquisite guitar hooks is utterly mesmerising as the song has a slight hypnotic effect due to the elongated phase. As the song pauses briefly for a keyboard infused section it gives the track time to breathe before the second half introduces itself with progressive structuring. The way the band interweaves so many elements is truly wondrous as the closer reasserts the blast beat but with clean vocals heading towards the last couple of minutes where the song drops out again for more eerie atmospherics that take it to its completion.
An astonishingly brilliant album by Hail Spirit Noir yet again, one that fans of progressive black metal should be buying without hesitation as it is as perfect an album in this genre as you’re ever likely to hear.
(10/10 Martin Harris)
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