|Review: Gorath - Misotheism|
Label: Descent Productions
Year released: 2008
Genre: Black Metal
Review online: October 3, 2008
Reviewed by: Pagan Shadow
Rated 3.88/5 (77.5%) (8 Votes)
As a former art/photography student, I'm often attracted to an album by the great covert art. It was again the case here with Gorath's latest opus, Misotheism . One thing I didn't remember (old age...) was the fact that I've had already covered some of their earlier work, a compilation of previous demos actually, called Haunting the December Chords/ The Blueprints for Revolution. With a little help from my friend, I was able to review, and enjoy, once again the music of Gorath.
Gorath is one of those bands that you can't easily categorize by using only one word. Black Metal it is basically, but Mr. Dupont & co. are adding more personal visions into their arts, only making it tastier, musically speaking. As an acoustic guitar player, I'm always pleased to hear this instrument, and this sort of tonality only increase the harmonies on a certain number of tracks. Such is the case for my favorite pieces, namely "Gnosis" and "Abraxas". On those compositions, the organic sound enhances the folksy/Viking level of their music, not to forget the clean chant and epic percussions. The bulk of this work rests on solid and varied guitar work, nice time signatures, a progressive edge, rasps, wicked vocal, a sense of story telling and occasional ambient keyboards. The closing track, "Sicarii" even includes battlefields and sword samplings, again to illustrate their Viking/story teller aspects. I'm just wondering a bit about track #4, "Sophia" , which is a purely ambient piece, with percussions and spoken words; perhaps it is part of the story or something. It just feels a bit out of place, not really a filler as such though.
One more great series of progressive Folk/Viking Black Metal!
|Other related information on the site|
|Review: Haunting the December Chords/ The Blueprints for Revolution (reviewed by Pagan Shadow)|
Review: Misotheism (reviewed by Michel Renaud)
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