Без сомнений, бразильская группа Loneshore – открытие года, а её дебютный альбом – один из лучших релизов за последнее время, соперничающий с лучшими работами Opeth, Katatonia, Alcest и The Morningside. Безупречное исполнительское мастерство, блестящие мелодии и разноплановые цепляющие композиции делают «From Presence To Silence» необходимым к прослушиванию, неоднократному переслушиванию и особым местом на полке любителя тёмной тяжёлой музыки.
Треклист:
1 The Quiet Visitor
2 Effigy
3 Winds Of Ill Omen
4 Until The Last Of Hopes
5 Daylight
6 From Presence To Silence
Артист:
Loneshore
Страна артиста:
Brazil
Год альбома:
2018
Название:
From Presence To Silence
Стиль:
progressive dark metal
Формат:
Compact Disk
Тип:
CD
Упаковка:
Jewel Case
Доп. информация:
12 page booklet
Лейбл:
BadMoodMan Music
Кат. номер:
BMM. 084-18
Год издания:
2018
Штрих-код:
4627080611368
Страна-производитель:
Russia
I have nothing but admiration for this group and this album. I should have anticipated that Opeth would be mentioned because one of my first thoughts was shades of Opeth in all aspects. The songs are very well done and in all ways the sound, vocals, instrumentals are very sophisticated. Despite the above, they have their own unique and original sound and come together perfectly to make for great listening. The instrumental track is my favorite. Beautiful and dark. (NOT like Opeth) and original. (I play it on repeat sometimes xs 10. And the last track is also a big favorite as is track 3. I highly recommend this band and can't think that it wouldn't be a hit in nearly every metal genre. Thanx Solitude. Dead.
Review
The Pit of the Damned
7.5/10
01.02.2019
In Brasile, il Sole deve ormai aver ceduto il passo alle tenebre. Solo in questo modo si spiegherebbe la ragione dell'uscita funerea degli Helllight e ora di questi Loneshore, provenienti addirittura dalle spiagge assolate di Rio de Janeiro. Il quintetto di Rio però, a differenza dei più illustri colleghi dediti al funeral, offre un sound che, per quanto nelle propria struttura veda l'utilizzo di qualche partitura doom, ammicca principalmente agli Opeth di 'Blackwater Park', quale influenza primaria. La cosa è chiara fin dall'opener "The Quiet Visitor", undici minuti in cui i carioca giocano con fraseggi prettamente progressivi, pur mantenendo intatta una certa asprezza a livello ritmico e propinando un dualismo vocale tra growling e screaming vocals davvero intrigante. In tutto questo, non mancano alte dosi di melodia che si sprigionano attraverso le sei lunghe tracce contenute in 'From Presence To Silence'. Detto degli undici minuti iniziali dell'opening track, ne seguiranno altri dieci con l'oscura "Effigy", un pezzo che ben si muove tra riffoni tosti, strutture articolate, ma soprattutto dove il pezzo forte, oltre alle splendide melodie di chitarra, è rappresentato dalla comparsa di clean vocals che poggiano sui vari cambi di tempo che contraddistinguono il pezzo, un buon pezzo. L'arpeggio in apertura di "Winds Of Ill Omen" ricorda inequivocabilmente gli innumerevoli brani degli Opeth che furono, quelli che iniziavano brillantemente le loro canzoni in questo modo tra le melodie gentili di una chitarra acustica e le proseguivano anche meglio, in pezzi ben calibrati tra melodia e aggressività. E i Loneshore non sono tanto distanti dall'emulare le gesta del periodo di mezzo degli eroi svedesi capitanati dal buon Mikael Åkerfeldt, alla stregua di quanto fecero agli esordi gli statunitensi Daylight Dies. Questo per dire, che fondamentalmente la band brasiliana non inventa nulla di nuovo, ma quello che suona, non cosi facile da proporre, mostra comunque le qualità di una band già rodata e che vanta un buon gusto per le melodie, un'ottima preparazione tecnica e qualche idea non proprio da buttare. Se in tutto questo ci mettessero anche un pizzico di personalità, credo che mi ritroverei quei ad osannare 'From Presence to Silence' anzichè dire che di strada da fare per trovare un proprio stile personale ce n'è da fare ancora parecchia. Nel frattempo se siete dei nostalgici dei vecchi Opeth, e vi piacciono anche le accelerazioni post black (ascoltatevi la title track), beh credo che il lavoro dei Loneshore possa supplire egregiamente a questa vostra mancanza nell'attesa che prima o poi Mikael e compagni rinsaviscano.
Author: Francesco Scarci
The Pit of the Damned
7.5/10
01.02.2019
In Brasile, il Sole deve ormai aver ceduto il passo alle tenebre. Solo in questo modo si spiegherebbe la ragione dell'uscita funerea degli Helllight e ora di questi Loneshore, provenienti addirittura dalle spiagge assolate di Rio de Janeiro. Il quintetto di Rio però, a differenza dei più illustri colleghi dediti al funeral, offre un sound che, per quanto nelle propria struttura veda l'utilizzo di qualche partitura doom, ammicca principalmente agli Opeth di 'Blackwater Park', quale influenza primaria. La cosa è chiara fin dall'opener "The Quiet Visitor", undici minuti in cui i carioca giocano con fraseggi prettamente progressivi, pur mantenendo intatta una certa asprezza a livello ritmico e propinando un dualismo vocale tra growling e screaming vocals davvero intrigante. In tutto questo, non mancano alte dosi di melodia che si sprigionano attraverso le sei lunghe tracce contenute in 'From Presence To Silence'. Detto degli undici minuti iniziali dell'opening track, ne seguiranno altri dieci con l'oscura "Effigy", un pezzo che ben si muove tra riffoni tosti, strutture articolate, ma soprattutto dove il pezzo forte, oltre alle splendide melodie di chitarra, è rappresentato dalla comparsa di clean vocals che poggiano sui vari cambi di tempo che contraddistinguono il pezzo, un buon pezzo. L'arpeggio in apertura di "Winds Of Ill Omen" ricorda inequivocabilmente gli innumerevoli brani degli Opeth che furono, quelli che iniziavano brillantemente le loro canzoni in questo modo tra le melodie gentili di una chitarra acustica e le proseguivano anche meglio, in pezzi ben calibrati tra melodia e aggressività. E i Loneshore non sono tanto distanti dall'emulare le gesta del periodo di mezzo degli eroi svedesi capitanati dal buon Mikael Åkerfeldt, alla stregua di quanto fecero agli esordi gli statunitensi Daylight Dies. Questo per dire, che fondamentalmente la band brasiliana non inventa nulla di nuovo, ma quello che suona, non cosi facile da proporre, mostra comunque le qualità di una band già rodata e che vanta un buon gusto per le melodie, un'ottima preparazione tecnica e qualche idea non proprio da buttare. Se in tutto questo ci mettessero anche un pizzico di personalità, credo che mi ritroverei quei ad osannare 'From Presence to Silence' anzichè dire che di strada da fare per trovare un proprio stile personale ce n'è da fare ancora parecchia. Nel frattempo se siete dei nostalgici dei vecchi Opeth, e vi piacciono anche le accelerazioni post black (ascoltatevi la title track), beh credo che il lavoro dei Loneshore possa supplire egregiamente a questa vostra mancanza nell'attesa che prima o poi Mikael e compagni rinsaviscano.
Author: Francesco Scarci
Review
ZwareMetalen
8.9/10
20.10.2018
Voor de fans van Opeth, Katatonia en Alcest is er nu een nieuwe speler op de markt die wellicht interessant is om te volgen: het Braziliaanse Loneshore. De mannen gooien een bijzondere mix van melancholie, memorabele melodieën, dromerige momenten en een chaotische atmosfeer in de blender en produceren een drab van vernieuwende en inspirerende progressieve dark metal.
De in 2014 opgerichte formatie debuteerde onlangs met het album From Presence To Silence: maar liefst 55 minuten aan smerige drab uit de blender. Dat we hier te maken hebben met een progressieve band is al gelijk duidelijk aan de gemiddelde speellengte van de zes nummers op het album: deze komt niet onder de zes minuten! Een beetje een cliché, maar het zij hen vergeven met het voordeel van de twijfel. Nu maar eens kijken of zij mij weten te veroveren met deze plaat.
Ik heb het album nu ruim een week in bezit en inmiddels al zo’n tien luisterbeurten gegeven. De reden voor de vele luisterbeurten is vrij simpel: het is even wennen, maar jeetje, wat een interessante plaat! Het is net als een bijzonder speciaalbiertje, bourbon of whiskey. Bij de eerste kennismaking moeten de smaakpapillen nog even wennen aan de eerste indruk, de smaak gedurende het doorslikken en de lange afdronk. Na het nemen van meerdere slokken wordt de ervaring echter steeds beter, zo ook met dit album.
Van het begin tot het eind, dit album intrigeert door en door! Het opent prachtig met het ruim elf minuten durende The Quiet Visitor, waarin een gezonde blend van prachtige akoestische gitaarmomenten en chaotische blastbeatmomentjes uit de boxen knallen. De twee meest memorabele momenten in dit nummer zijn de death/black momentjes waar zanger Luiz Felipe ontzettend indruk maakt met zijn screams en deathgrowl en het prachtige akoestische stuk tussen de zeven en negen minuten, waar de ritmegitaar een eenvoudig doch mooi patroon aan rifjes herhaalt, en een melancholische gitaarsolo je meeneemt in een dromerige extase. Dankzij deze prachtige combinatie is dit gelijk mijn favoriete nummer van het album.
Andere bijzonder goede elementen op het album zijn de zeer succesvol gecombineerde ‘rustige’ momenten versus de melodische, melancholische momenten. Om hier vervolgens een potje chaos in de orde te gooien door ineens over te gaan naar wat haast neigt naar atmosferische black metal. Zanger Luiz Felipe wisselt keurig netjes tussen de cleane momenten, die soms een beetje als Katatonia en Tool klinken en de grommende, boze grunts. Een nummer waarin de balans tussen de zangstijlen erg goed wordt weergegeven is Effigy. Luister hieronder naar een play-through van dit nummer.
Ook de Opeth-invloeden zijn erg prominent op deze plaat en zijn in de eerste twee nummers al aanwezig. Waar dit pas echt naar voren komt, is tijdens het briljante Winds of Ill Omen en het meeslepende Until The Last Of Hopes. Het meest proggie werk op de plaat hoor je in Daylight. Mellow drumpartijen met ontzettend veel ghost notes op de snaren en bekkens, een eindeloze sustain op de achtergrondriff en al met al een track om volledig bij weg te dromen. Overigens is de track volledig instrumentaal. De hekkensluiter op het album is eigenlijk een samenvatting van het hele album. In bijna twaalf minuten worden alle elementen uit eerdere nummers samengevoegd in een episch stukje melancholische herrie.
Zo aan het einde van de recensie betrap ik mijzelf erop dat ik opnieuw een volledige analyse heb neergezet voor de lezer. Dit komt dan ook door mijn enthousiasme over de plaat. From Presence To Silence boeit van begin tot eind en verdient dan ook de uitgebreide aandacht. De mannen hebben echt een perfecte balans tussen ‘relaxt’ en ‘ chaos’ gevonden en wikkelen daarmee de luisteraar om hun vinger. Een zeer indrukwekkend debuut en absoluut eentje om in de gaten te houden!
Author: Corpus_Corrie
ZwareMetalen
8.9/10
20.10.2018
Voor de fans van Opeth, Katatonia en Alcest is er nu een nieuwe speler op de markt die wellicht interessant is om te volgen: het Braziliaanse Loneshore. De mannen gooien een bijzondere mix van melancholie, memorabele melodieën, dromerige momenten en een chaotische atmosfeer in de blender en produceren een drab van vernieuwende en inspirerende progressieve dark metal.
De in 2014 opgerichte formatie debuteerde onlangs met het album From Presence To Silence: maar liefst 55 minuten aan smerige drab uit de blender. Dat we hier te maken hebben met een progressieve band is al gelijk duidelijk aan de gemiddelde speellengte van de zes nummers op het album: deze komt niet onder de zes minuten! Een beetje een cliché, maar het zij hen vergeven met het voordeel van de twijfel. Nu maar eens kijken of zij mij weten te veroveren met deze plaat.
Ik heb het album nu ruim een week in bezit en inmiddels al zo’n tien luisterbeurten gegeven. De reden voor de vele luisterbeurten is vrij simpel: het is even wennen, maar jeetje, wat een interessante plaat! Het is net als een bijzonder speciaalbiertje, bourbon of whiskey. Bij de eerste kennismaking moeten de smaakpapillen nog even wennen aan de eerste indruk, de smaak gedurende het doorslikken en de lange afdronk. Na het nemen van meerdere slokken wordt de ervaring echter steeds beter, zo ook met dit album.
Van het begin tot het eind, dit album intrigeert door en door! Het opent prachtig met het ruim elf minuten durende The Quiet Visitor, waarin een gezonde blend van prachtige akoestische gitaarmomenten en chaotische blastbeatmomentjes uit de boxen knallen. De twee meest memorabele momenten in dit nummer zijn de death/black momentjes waar zanger Luiz Felipe ontzettend indruk maakt met zijn screams en deathgrowl en het prachtige akoestische stuk tussen de zeven en negen minuten, waar de ritmegitaar een eenvoudig doch mooi patroon aan rifjes herhaalt, en een melancholische gitaarsolo je meeneemt in een dromerige extase. Dankzij deze prachtige combinatie is dit gelijk mijn favoriete nummer van het album.
Andere bijzonder goede elementen op het album zijn de zeer succesvol gecombineerde ‘rustige’ momenten versus de melodische, melancholische momenten. Om hier vervolgens een potje chaos in de orde te gooien door ineens over te gaan naar wat haast neigt naar atmosferische black metal. Zanger Luiz Felipe wisselt keurig netjes tussen de cleane momenten, die soms een beetje als Katatonia en Tool klinken en de grommende, boze grunts. Een nummer waarin de balans tussen de zangstijlen erg goed wordt weergegeven is Effigy. Luister hieronder naar een play-through van dit nummer.
Ook de Opeth-invloeden zijn erg prominent op deze plaat en zijn in de eerste twee nummers al aanwezig. Waar dit pas echt naar voren komt, is tijdens het briljante Winds of Ill Omen en het meeslepende Until The Last Of Hopes. Het meest proggie werk op de plaat hoor je in Daylight. Mellow drumpartijen met ontzettend veel ghost notes op de snaren en bekkens, een eindeloze sustain op de achtergrondriff en al met al een track om volledig bij weg te dromen. Overigens is de track volledig instrumentaal. De hekkensluiter op het album is eigenlijk een samenvatting van het hele album. In bijna twaalf minuten worden alle elementen uit eerdere nummers samengevoegd in een episch stukje melancholische herrie.
Zo aan het einde van de recensie betrap ik mijzelf erop dat ik opnieuw een volledige analyse heb neergezet voor de lezer. Dit komt dan ook door mijn enthousiasme over de plaat. From Presence To Silence boeit van begin tot eind en verdient dan ook de uitgebreide aandacht. De mannen hebben echt een perfecte balans tussen ‘relaxt’ en ‘ chaos’ gevonden en wikkelen daarmee de luisteraar om hun vinger. Een zeer indrukwekkend debuut en absoluut eentje om in de gaten te houden!
Author: Corpus_Corrie
Review
Justin Hulford
14/20
03.10.2018
Some extremely clean guitar plucks start opener “The Quiet Visitor” before some gentle riffs add to the mood. There is a lot to like even if it begins quite simply. But then it builds, moods added to by some delicious layers.
It’s a bold musical start and frankly deserves something better than the death growls that come. It would be acceptable if there was at least a clean counter but for me, as it is, I think it’s an absolute waste of some excellent progressive musical vibes.
And sadly that’s how this plays out with some amazing sounds coming one after the other, but the death growls lacking the depth and sophistication the music deserves.
The next brings in a clean vocal to joust with the growl and what a difference it makes, but even then the growls are over done. And overall I just don’t think they have the balance right here. It’s too growly and that obscures the excellent music. It makes me look for more and at the end of the day, the beautiful musical soundscapes do end up feeling a bit samey.
This is bold, it’s at times very good or more, but feels a litle naive and falls a little short.
Justin Hulford
14/20
03.10.2018
Some extremely clean guitar plucks start opener “The Quiet Visitor” before some gentle riffs add to the mood. There is a lot to like even if it begins quite simply. But then it builds, moods added to by some delicious layers.
It’s a bold musical start and frankly deserves something better than the death growls that come. It would be acceptable if there was at least a clean counter but for me, as it is, I think it’s an absolute waste of some excellent progressive musical vibes.
And sadly that’s how this plays out with some amazing sounds coming one after the other, but the death growls lacking the depth and sophistication the music deserves.
The next brings in a clean vocal to joust with the growl and what a difference it makes, but even then the growls are over done. And overall I just don’t think they have the balance right here. It’s too growly and that obscures the excellent music. It makes me look for more and at the end of the day, the beautiful musical soundscapes do end up feeling a bit samey.
This is bold, it’s at times very good or more, but feels a litle naive and falls a little short.
Review
Sjeverna Strava Zine
8/10
07.10.2018
South American scene is one of the richest in the world regarding bands from all kinds of extreme music genres. This time we review the new record by Loneshore.
cover
Founded in 2014.in Rio De Janeiro, these guys worked hard and this is their debut full length out on BadMoodMan Music. This high quality piece of metal music was mastered by Tony Lindgren at Fascination Street Studios. The album contains 6 songs in about less than one hour time. The music of Loneshore can be described as a mixture of death/doom metal aggressiveness with mysticism and atmospheric parts and prog metal parts thrown in the song structures.
The overall atmosphere of the album is pretty much dark and gloomy, almost easy to physically feel it. From the long and epic The Quiet Visitor over atmospheric and more melodic doomy Effigy to the lonely and desolate soundscape of the title song, this album delivers intense experience for the listener. For fans of doom but also melodic and progressive dark metal, this album will be a real treat!
Author: vladkraykulla
Sjeverna Strava Zine
8/10
07.10.2018
South American scene is one of the richest in the world regarding bands from all kinds of extreme music genres. This time we review the new record by Loneshore.
cover
Founded in 2014.in Rio De Janeiro, these guys worked hard and this is their debut full length out on BadMoodMan Music. This high quality piece of metal music was mastered by Tony Lindgren at Fascination Street Studios. The album contains 6 songs in about less than one hour time. The music of Loneshore can be described as a mixture of death/doom metal aggressiveness with mysticism and atmospheric parts and prog metal parts thrown in the song structures.
The overall atmosphere of the album is pretty much dark and gloomy, almost easy to physically feel it. From the long and epic The Quiet Visitor over atmospheric and more melodic doomy Effigy to the lonely and desolate soundscape of the title song, this album delivers intense experience for the listener. For fans of doom but also melodic and progressive dark metal, this album will be a real treat!
Author: vladkraykulla
Review
The Median Man
30.09.2018
“The Quiet Visitor,” opens things up, producing a quiet and haunting melody through the guitars, it slowly begins to turn and change. Growling and snarling with the heaviness within the guitars, the vocals snarl their piece. “Effigy,” another song that shifts in tone and composure, moving through the edges, before producing something akin to rage and darkness. “Winds of Ill Omen,” filled with melody and hope, there is light at the end of the tunnel, that is slowly replaced with darkness and grit.
“Until The Last Of Hopes,” another song that is filled with chaotic energy from the get go. Slowly snarling and biting its way through the changes and frills. Nothing more to see but heaviness. “Daylight,” softer, calmer and more melodic. “From Presence To Silence,” a song that grits its teeth through changes and clangs, without ever losing sight of what is and isn’t to be.
Author: medianman19
The Median Man
30.09.2018
“The Quiet Visitor,” opens things up, producing a quiet and haunting melody through the guitars, it slowly begins to turn and change. Growling and snarling with the heaviness within the guitars, the vocals snarl their piece. “Effigy,” another song that shifts in tone and composure, moving through the edges, before producing something akin to rage and darkness. “Winds of Ill Omen,” filled with melody and hope, there is light at the end of the tunnel, that is slowly replaced with darkness and grit.
“Until The Last Of Hopes,” another song that is filled with chaotic energy from the get go. Slowly snarling and biting its way through the changes and frills. Nothing more to see but heaviness. “Daylight,” softer, calmer and more melodic. “From Presence To Silence,” a song that grits its teeth through changes and clangs, without ever losing sight of what is and isn’t to be.
Author: medianman19
Review
Metal Integral
15/20
14.10.2018
Nouvelle illustration de l'implantation internationale du Metal : LONESHORE est un groupe brésilien qui sort son premier album sur un label russe. Stylistiquement parlant, le quintette joue également le jeu de la diversité et ne s'est pas restreint dans ses influences.
Il y a tout d'abord une dimension progressive dans ces compositions longues : The Quiet Visitor et le titre éponyme dépassent les onze minutes, les quatre autres s'étalant entre six et dix minutes. Ces gabarits permettent logiquement de mettre en place des structures relativement complexes, avec des successions de séquences, certaines brèves, d'autres plus longues, créant des contrastes parfois saisissants les unes par rapport aux autres.
C'est ainsi que peut débouler à vive allure un passage frénétique et féroce relevant du Black Metal ou du Death Metal, auquel succède une partie complexe typique du Metal progressif, avant qu'une accalmie mélancolique ne prenne délicatement ses aises. Quelques bribes de Doom peuvent apparaître, alors qu'on entend de discrets arrangements électro sur un titre comme le délicat Daylight.
Bien évidemment, les vocaux connaissent un traitement analogue puisqu'on entend les registres gutturaux propre au Death, enragés propres au Black ou clair, posé, grave et désabusé comme on croise dans le Dark Metal.
Férocité contre délicatesse, vitesse contre pesanteur, lourdeur contre légèreté : LONESHORE jongle avec les contraires et parvient à garder le fil dans ce contexte touffu. Le risque d'une dispersion demeure mais il faut bien avouer que LONESHORE maîtrise bien son affaire, notamment grâce à la maîtrise instrumentale de ses musiciens et à un mixage équilibré. Globalement, From Presence To Silence affiche de belles ambitions et révèle un groupe porteur d'un potentiel intéressant. On a hâte de savoir comment cette richesse stylistique va évoluer à l'avenir.
Author: Alain
Metal Integral
15/20
14.10.2018
Nouvelle illustration de l'implantation internationale du Metal : LONESHORE est un groupe brésilien qui sort son premier album sur un label russe. Stylistiquement parlant, le quintette joue également le jeu de la diversité et ne s'est pas restreint dans ses influences.
Il y a tout d'abord une dimension progressive dans ces compositions longues : The Quiet Visitor et le titre éponyme dépassent les onze minutes, les quatre autres s'étalant entre six et dix minutes. Ces gabarits permettent logiquement de mettre en place des structures relativement complexes, avec des successions de séquences, certaines brèves, d'autres plus longues, créant des contrastes parfois saisissants les unes par rapport aux autres.
C'est ainsi que peut débouler à vive allure un passage frénétique et féroce relevant du Black Metal ou du Death Metal, auquel succède une partie complexe typique du Metal progressif, avant qu'une accalmie mélancolique ne prenne délicatement ses aises. Quelques bribes de Doom peuvent apparaître, alors qu'on entend de discrets arrangements électro sur un titre comme le délicat Daylight.
Bien évidemment, les vocaux connaissent un traitement analogue puisqu'on entend les registres gutturaux propre au Death, enragés propres au Black ou clair, posé, grave et désabusé comme on croise dans le Dark Metal.
Férocité contre délicatesse, vitesse contre pesanteur, lourdeur contre légèreté : LONESHORE jongle avec les contraires et parvient à garder le fil dans ce contexte touffu. Le risque d'une dispersion demeure mais il faut bien avouer que LONESHORE maîtrise bien son affaire, notamment grâce à la maîtrise instrumentale de ses musiciens et à un mixage équilibré. Globalement, From Presence To Silence affiche de belles ambitions et révèle un groupe porteur d'un potentiel intéressant. On a hâte de savoir comment cette richesse stylistique va évoluer à l'avenir.
Author: Alain
Review
Doomed to Darkness
8/10
29.09.2018
Loneshore are a band from Brazil that plays a very melodic and progressive mixture of doom and death metal and this is a review of their 2018 album "From Presence To Silence" which was released by BadMoodMan Music.
Nature orientated soundscapes start off the album along with some clean playing a few seconds later while the solos and leads are done in a very melodic style along with the slow and heavy riffs being mostly rooted in doom metal as well as the riffs also bringing in a great amount of melody.
Vocals are mostly death metal growls along with a few screams that add in a touch of black metal while all of the tracks are very long and epic in length and when the music speeds up a decent amount of blast beats can also be heard as well as all of the musical instruments having a very powerful sound to them.
Elements of post rock can also be heard in certain sections of the recording while clean singing is also added into some parts of the music along with some acoustic guitars are also added into some of the tracks and as the album progresses a brief use of stringed instruments and spoken word parts can be heard.
Loneshore plays a style of doom/death metal that is very atmospheric, progressive and melodic sounding along with a great amount of post rock and black metal elements, the production sounds very professional while the lyrics cover dark and melancholic themes.
In my opinion Loneshore are a very great sounding melodic and progressive mixture of doom and death metal and if you are a fan of those musical genres, you should check out t his band. RECOMMENDED TRACKS INCLUDE "Effigy" and "From Presence To Silence".
Author: OccultBlackMetal
Doomed to Darkness
8/10
29.09.2018
Loneshore are a band from Brazil that plays a very melodic and progressive mixture of doom and death metal and this is a review of their 2018 album "From Presence To Silence" which was released by BadMoodMan Music.
Nature orientated soundscapes start off the album along with some clean playing a few seconds later while the solos and leads are done in a very melodic style along with the slow and heavy riffs being mostly rooted in doom metal as well as the riffs also bringing in a great amount of melody.
Vocals are mostly death metal growls along with a few screams that add in a touch of black metal while all of the tracks are very long and epic in length and when the music speeds up a decent amount of blast beats can also be heard as well as all of the musical instruments having a very powerful sound to them.
Elements of post rock can also be heard in certain sections of the recording while clean singing is also added into some parts of the music along with some acoustic guitars are also added into some of the tracks and as the album progresses a brief use of stringed instruments and spoken word parts can be heard.
Loneshore plays a style of doom/death metal that is very atmospheric, progressive and melodic sounding along with a great amount of post rock and black metal elements, the production sounds very professional while the lyrics cover dark and melancholic themes.
In my opinion Loneshore are a very great sounding melodic and progressive mixture of doom and death metal and if you are a fan of those musical genres, you should check out t his band. RECOMMENDED TRACKS INCLUDE "Effigy" and "From Presence To Silence".
Author: OccultBlackMetal
Review
Metal Na Lata
10/10
03.10.2018
Torno a dizer, 2018 está sendo um ótimo para o Doom Metal, tanto para lançamentos de bandas já consagradas, quanto para o surgimento de novas bandas, saliento também que tal êxito se estende para as mais diversas ramificações do mesmo, enfim, há som (e dos bons) para todos os gostos.
O carioca Loneshore foi fundado em 2014, mas só agora lança seu primeiro registro, tal demora é totalmente justificada vide a qualidade do material apresentado e o nível de profissionalismo dos músicos, numa performance avassaladora, pra dizer o mínimo.
Sobre as influências, elas existem e são diversas, mas não se sobressaem sobre a capacidade criativa da banda, resultando numa sonoridade intrincada, belíssima e muito, mas muito peculiar.
Em contexto geral, um excelente disco de Doom/Death Metal com lampejos de Post-Rock, Post-Black e Progressive Metal, resultando em composições inspiradíssimas repletas de melodias magníficas e contemplativas, passagens etéreas e jazzísticas e muito sentimento.
Destacar essa ou aquela faixa seria uma tarefa injusta devido a grandiosidade do álbum, mas ouso citar “The Quiet Visitor” (uma das músicas mais incríveis que já ouvi na vida), “Effigy” (onde Luiz Felipe Netto transita entre os vocais guturais e limpos com uma desenvoltura de cair o queixo) em certos momentos pensei estar ouvindo Falloch, principalmente nas partes mais calmas e “Until The Last Of Hopes” (que me fez imaginar como seria se o Mikael Åkerfeldt cantasse numa banda de Doom Death Metal).
Finalizando, um disco surpreendente, digno dos melhores adjetivos e altamente recomendável, provando mais uma vez que o Doom Metal brasileiro atende e por vezes supera o padrão de qualidade de banda internacionais.
Author: Fábio C .Miloch
Metal Na Lata
10/10
03.10.2018
Torno a dizer, 2018 está sendo um ótimo para o Doom Metal, tanto para lançamentos de bandas já consagradas, quanto para o surgimento de novas bandas, saliento também que tal êxito se estende para as mais diversas ramificações do mesmo, enfim, há som (e dos bons) para todos os gostos.
O carioca Loneshore foi fundado em 2014, mas só agora lança seu primeiro registro, tal demora é totalmente justificada vide a qualidade do material apresentado e o nível de profissionalismo dos músicos, numa performance avassaladora, pra dizer o mínimo.
Sobre as influências, elas existem e são diversas, mas não se sobressaem sobre a capacidade criativa da banda, resultando numa sonoridade intrincada, belíssima e muito, mas muito peculiar.
Em contexto geral, um excelente disco de Doom/Death Metal com lampejos de Post-Rock, Post-Black e Progressive Metal, resultando em composições inspiradíssimas repletas de melodias magníficas e contemplativas, passagens etéreas e jazzísticas e muito sentimento.
Destacar essa ou aquela faixa seria uma tarefa injusta devido a grandiosidade do álbum, mas ouso citar “The Quiet Visitor” (uma das músicas mais incríveis que já ouvi na vida), “Effigy” (onde Luiz Felipe Netto transita entre os vocais guturais e limpos com uma desenvoltura de cair o queixo) em certos momentos pensei estar ouvindo Falloch, principalmente nas partes mais calmas e “Until The Last Of Hopes” (que me fez imaginar como seria se o Mikael Åkerfeldt cantasse numa banda de Doom Death Metal).
Finalizando, um disco surpreendente, digno dos melhores adjetivos e altamente recomendável, provando mais uma vez que o Doom Metal brasileiro atende e por vezes supera o padrão de qualidade de banda internacionais.
Author: Fábio C .Miloch
Review
No Clean Singing
27.09.2018
Loneshore began their musical journey together in 2014, in Rio de Janeiro, Brazil. Drawing influence from such bands as Katatonia, Opeth, and Alcest, they have meticulously crafted a debut album named From Presence To Silence that will be released by BadMoodMan Music and Solitude Productions tomorrow (September 28th), and on the eve of that debut for which the band have worked so hard, we present a live performance video for an album track called “Effigy“.
The song is a long one (about 10 minutes), but completely engrossing, in part because it’s so multi-faceted, drawing together elements that range from doom to death metal to post-rock and prog, and in part because it’s so dynamic — and so alive with passion (which also comes through quite clearly as you watch the band members perform the song in the video).
“Effigy” is heavy and head-moving, nimble and fiery, ravaging and somber. It moves from chiming chords with a slightly dissonant tonality to the high, tension-torquing whirr of the guitar, from stop-start bursts of sound to passages that are both jolting and moody, yet the song retains a cohesive integration through these and other changes, and becomes memorable as well as enthralling in the moment.
The vocals also display variety, spanning a spectrum of immense roars and vicious ear-assaulting howls to clean vocals (reminiscent, to this listener, of Amorphis’ Tomi Joutsen).
The song would be a fine one even if unaccompanied by the video through which it’s being presented, but watching the performance makes it even more exciting. We have this comment from vocalist Luiz Felipe Netto (who also produced and mixed the album, with mastering by Tony Lindgren at Fascination Street Studios in Sweden):
“Filming and producing this video was quite an undertaking. We had set out to do a live performance in the studio, capturing both audio and video of us playing ‘Effigy’ in its entirety, in one single take. Since this is a fairly young and unknown band this seemed to be the best way to present the Loneshore sound to the world – live, raw and sweaty. A few technical problems along the way rendered the recorded audio unusable so we had to adapt our plans on the spot. The video footage looked decent so we decided to put it all together as sort of a music video instead. That’s how the label ‘Performance Video’ came about.”
Author: Islander
No Clean Singing
27.09.2018
Loneshore began their musical journey together in 2014, in Rio de Janeiro, Brazil. Drawing influence from such bands as Katatonia, Opeth, and Alcest, they have meticulously crafted a debut album named From Presence To Silence that will be released by BadMoodMan Music and Solitude Productions tomorrow (September 28th), and on the eve of that debut for which the band have worked so hard, we present a live performance video for an album track called “Effigy“.
The song is a long one (about 10 minutes), but completely engrossing, in part because it’s so multi-faceted, drawing together elements that range from doom to death metal to post-rock and prog, and in part because it’s so dynamic — and so alive with passion (which also comes through quite clearly as you watch the band members perform the song in the video).
“Effigy” is heavy and head-moving, nimble and fiery, ravaging and somber. It moves from chiming chords with a slightly dissonant tonality to the high, tension-torquing whirr of the guitar, from stop-start bursts of sound to passages that are both jolting and moody, yet the song retains a cohesive integration through these and other changes, and becomes memorable as well as enthralling in the moment.
The vocals also display variety, spanning a spectrum of immense roars and vicious ear-assaulting howls to clean vocals (reminiscent, to this listener, of Amorphis’ Tomi Joutsen).
The song would be a fine one even if unaccompanied by the video through which it’s being presented, but watching the performance makes it even more exciting. We have this comment from vocalist Luiz Felipe Netto (who also produced and mixed the album, with mastering by Tony Lindgren at Fascination Street Studios in Sweden):
“Filming and producing this video was quite an undertaking. We had set out to do a live performance in the studio, capturing both audio and video of us playing ‘Effigy’ in its entirety, in one single take. Since this is a fairly young and unknown band this seemed to be the best way to present the Loneshore sound to the world – live, raw and sweaty. A few technical problems along the way rendered the recorded audio unusable so we had to adapt our plans on the spot. The video footage looked decent so we decided to put it all together as sort of a music video instead. That’s how the label ‘Performance Video’ came about.”
Author: Islander
