Avatarium may be masterminded by Candlemass bassist Leif
Elding but their second full-length album continues to prove their worth as more than a mere offshoot. While the opening title track has a chug
reminiscent of “Black Dwarf” and songs like “January Sea” and “Ghostlight” have
their share of massive riffs, they generally avoid traditional doom structures.
The songs’ quieter segments tend to feature sparser percussion, the vocal lines
feature quirkier phrasing, and the mood is based on disorientation rather than
melancholy.
In addition, the band appears to be taking as many cues from
70s prog rock as it is from their doom brethren. The competition between Carl
Westholm’s keyboards and Marcus Jidell’s guitars channels the classic
Lord/Blackmore dynamic when they aren’t giving the material a psychedelic
touch. “Pearls And Coffins” also stands out for its folk balladry while
“Hypnotized” and “The Master Thief” showcase smooth jazz swings.
But like the bulk of Leif Elding’s projects, the vocals are
what give Avatarium its strong character. Jennie-Ann Smith’s performance shows
more personality than any of her peers in the doom scene as she offers
sophistication,“Immigrant Song” style wails on the title track, and even some
ham when the situation calls for it. It is especially impressive when one
considers her lack of previous experience and makes one wonder where she was
when Nightwish was holding auditions…
Overall, The Girl With The Raven Mask is an album that is
tricky to pinpoint but ultimately rewards a patient listener. The slowness may
put off prog fans and its borderline carnival atmosphere is atypical for doom, but
the songwriting talent comes through with multiple listens and the vocals make
for an enjoyable companion. The band may reach a little further to pull that
true classic out of them but there’s no telling how much stronger this one will
turn out to be in time.
Highlights:
“Girl With The Raven Mask”
“Pearls And Coffins”
“Ghostlight”
“The Master Thief”
“The Master Thief”
No comments:
Post a Comment