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What a fascinating trip this album was. Medieval backdrops, choirs, orchestras, loads of atmosphere and a whole lot of class comprise the latest release from Aesma Daeva, basically a one man project comprising of John Prassas and some buddies, namely the impressive operatic lead female vocalist Melissa Ferlaak and a whole slew of guest musicians. Though it contains elements similar to standard gothic bands, The Eros of Frigid Beauty often times the similarities to something more along the lines of Mortiis’ non-homosexual works such as Fodt Til A Berske are more apparent. Long faint sounds of life on the other side of the recording equipment drones along at times with heavy anticipation, while at others generating strong and imaginative neo-classical themes alongside what turns out to be very little actual metal influence in comparison. And of course, our favourite electronic pal the keyboard manages to work its way into getting its share of attention on the record, but never making an all out nuisance of itself while making the band’s Skinny Puppy worship apparent. What the point of all this rambling is that this album is just everywhere, with so many different influences spliced together into one daunting structure of an album.

Impressive is Prassass’ dedication to the group. For such a classy and grandiose production, it was not recorded at any notable studio, but rather in private by Prassass and in concert halls. Very weird for sure, but I managed to enjoy this one quite a bit. Recommend for those looking for something a bit different…and by a bit, I mean a whole lot. I’m very intrigued as to what sights and sounds might lie within Aesma Daeva’s back catalogue.