Lorelei - Угрюмые Волны Студеного Моря (Gloomy Waves of the Cold Sea) (CD)

gothic doom death, BadMoodMan Music, BadMoodMan Music
466.67 Р
Price in points: 700 points
BMM. 062-13 x
In stock
The first full-length album from the Russian band Lorelei which found their unique way in the vast genre of gothic doom death metal. Inspired by art of Renaissance and Romanticism (in particular, by the poetry of the Protorenaissance representative Francesco Petrarca) the musicians filled the tracks with the airiness of professional female soprano interwoven with the gloom of low growling and melodic guitar riffs at the background of keyboards. The growl is performed by E.S., the leader of the band Who Dies In Siberian Slush, while drum parties are performed by Vladimir Lyashkov known for Decay Of Reality and Beheaded Zombie (he also took part in “Emanation of Hatred” by Revelations of Rain). The album was recorded at «Primordial studio» (Abstract Spirit, Comatose Vigil, Who Dies In Siberian Slush, Revelations of Rain); mastering was performed by Jerry Torstensson at Dead Dog Farm Studio (Saffle ,Sweden). Thus, the talented musicians present beautiful material being an implementation of their ideas having roots in gloomy waves of cold sea!

1 Intro 2:03
2 Холод Безмолвного Зимнего Леса… 7:10
3 Тенью Безликой… 7:45
4 Угрюмые Волны Студеного Моря… 5:43
5 La Vita Fugge E Non S'Arresta Un'Ora… 2:14
6 Не Ведая Темных Пределов Печали… 7:33
7 Холодный Призрачный Рассвет… 5:29
8 Рай Потерян… 7:26
9 Outro 1:54

Artist Country:
Album Year:
Угрюмые Волны Студеного Моря (Gloomy Waves of the Cold Sea)
gothic doom death
CD Album
Jewel Case
BadMoodMan Music
Cat Num:
BMM. 062-13
Release Year:
4 627080 610378
Country Of Manufacture:
Chronicles of Chaos

This one would have been dismissed too quickly had I not encountered some pretty positive responses towards this album, mentioning it as a really cool gothic metal album without falling into the gothic metal clichés, or in other words: gothic metal for those who dislike gothic metal. I had to give it a try.
Lorelei's _Ugrjumye Volny Studenogo Morja_ (my broken Russian tells me it has something to do with waves and an ocean, as I couldn't find any proper English translation) does not veer so far off that it couldn't be dubbed as typical gothic-oriented melodic doom/death metal album, almost generic in presentation and songwriting, yet a tad different in execution -- or more accurately, in the orchestration or the choice of instruments (if you regard the human voice as a musical instrument par excellence, indivisible from the rest); and that difference, manifesting itself through the well-thought tunes -- as minute as it may be -- is all the difference I need in order to render this album as time well spent, as well as being a worthy addition to my collection as an artifact of musical excellence.

Lorelei's debut is by no means a herald of a new musical direction in gothic metal, although it sets some new standards within this doom/death niche. This very album could have passed as nothing more than a decent ultra melodic doom/death metal album of the romantic kind; well played and well produced, indeed, but still, rather unspectacular. It could have settled for the usual classic rock combination of guitars-bass-drums and a male growler and still it would have sounded pretty rich and engaging, although not far removed from the plethora of (typical) bands of the 'Russian doom boom' we have all been accustomed to, courtesy of Solitude Productions and its numerous satellite sub-labels.

However, Lorelei have decided to incorporate into the recording a genuine opera singer by the name of Ksenia Michaelova, and this fragile-looking figure makes all the difference in the world between mediocrity and sublime transcendence. Her strong, vivid, robust, melancholic soprano vocals -- their scope and power in stark opposition to the frail and delicate-looking woman who creates them -- are among the best vocal expressions metal music has had the honor of exploiting. It may sound cheesy, I know, and pedestrian, but I'll tell you what it is most certainly not: cheesy and pedestrian. Her vocals, the true wonder of the recording, make the music a soaring and vital entity of beauty and pulsating sadness, enabling the album to quantum-leap from redundancy to total wonder and awe.

Not since Penumbra's _The Last Bewitchment_ have I encountered such a potent and accomplished gothic metal beauty; not because I have cast a complete veto on this form of art, but simply because there aren't many godly expressions of what is known as gothic metal out there. Case in point: I can't really relate to any of Solitude Production's gothic-tinged doom/death metal albums of the passing few years -- just can't, and not that I haven't tried...

_Ugrjumye Volny Studenogo Morja_ is one of those albums that beg further exploration, deleting all cynicism and scorn when they are thoroughly studied. Sweeping, larger-than-life tunes that are on par with the beauty of the soprano singer's massive voice, played perfectly and with much zest and color, and two very capable vocalists -- the bestial growler and the angelic nymph -- make this album a perfect 'beauty and the beast' sonic dichotomy of the utmost higher order.

This album is art in the making, unfolding right in front of your ears and your gaping mouth, while in the process your jaw will slowly drop in disbelief that you're actually liking this release as much as you do...

Author: Chaim Drishner
Lords of Metal

Dit was weer eens een Russische puzzel om op te lossen. De bandnaam Lorelei is duidelijk en we zien een pikzwarte hoes met een soort drakkar die zich in woelige wateren bevindt (en op het einde verzwolgen wordt door de oceaan in outro denk ik). Na onderzoek weet ik dat Ugrjumye Volny Studenogo Morja genspireerd is door de renaissance en het romanticisme en dan vooral de werken van dichter Francesco Petrarca. De vijfkoppige band heeft een professionele sopraan in dienst (Ksenia), deed beroep op grunter E.S. (Who Dies In Siberian Slush) voor de rollende grom en heeft ook een gastdrummer (Vladimir Lyashkov). De opnamen gebeurden in Rusland, maar het geheel werd puik afgewerkt in Zweden door Jerry Torstensson in de Dead Dog Farm Studio. De band is in 2003 ontstaan, bracht eerder een demo en een EP uit en is vanuit Chita naar de hoofdstad Moskou getrokken. De kwaliteit uit Rusland wordt gelukkig beter en beter. Dit album is best een fijne aanrader voor gothic doom/death metal fans die ook van Draconian en Saturnus houden. De sopraanzang lijkt me eerst over the top, maar het serieus kokette gekweel is toch wel professioneel, al komt het gelukkig niet in elk nummer voor en zijn de sappige growls van E.S. in de meerderheid. De vloeiende en zweverige doom metal is erg melodieus en wordt gesierd door tal van mooie gitaarsolos en brede toetsenpartijen. De lange songs hebben een natuurlijke tristesse, terwijl gesproken passages de dichterlijke achtergrond verraden. Klassieke piano zorgt af en toe voor een bedachtzaam intro of interludium, maar het geheel wordt vooral op smaak gebracht met veel melodieuze solos. De songs zijn meeslepend en toegankelijk, terwijl de duisternis als een sluier over je heen gedrapeerd wordt. Een mooi album voor melodieuze doom/death metal fans met gotische inslag.

Author: Vera
Ave Noctum

‘Угрюмые волны студёного моря’ is the first full-length album from the 10 year old Russian band Lorelei. They label themselves as gothic doom death metal and it’s a fair descriptor as the keyboard laden songs have a heavy but very slow guitar base to go with awesome death growls and stupendous soprano. First off excuse any misspelling that shall take place below, everything on their site is in Russian/Cyrillic and my Russian is a little rusty, read non-existent. All the lyrics are in Russian too, so it’s just a case of aural pleasure rather than cerebral too. With this in mind I’ve used the Latin alphabet for the song names, as they’re slightly easier to read that way, even though my understanding is little improved.

The opening “Intro” is just that, two minutes of thunderstorm and crashing waves morphing into gently picked guitars. Then as “Holod Bezmolvnogo Zimnego Lesa…” starts Alexandr Grischenko’s bass and Marina Ignatovich’s keyboards quietly join the mix as do some pretty heavy death vocals by E.S. (guest vocalist from Who Dies In Siberian Slush). During slow interlude there are some spoken vocals, which I understand, as they are in Italian and upon further reading I discover that the album is inspired by the poetry Francesco Petrarca, one of the founders of the Italian language as spoken now, along with the art of Renaissance and Romanticism from that epoch.

Ksenia “Serafima” Mikhaylova’s vocals are a lush soprano over the contrasting death vocals on “Ten’ju Bezlikoj…” as the guitars of Andrey Osokin and Alexey Ignatovich drive along slowly accompanied by Marina’s keyboards. With the keyboards taking on a dominant presence for “Ugrjumye Volny Studenogo Morja…” as they weave an intricate pattern under the vocals.

“La Vita Fugge, Et Non S’arresta Una Hora…” is a beautiful operatic piece of Petrarca’s poem sung by Ksenia with only a piano for accompaniment. The notes she reaches are stupendous and a feat themself.

The morose melodies played so slowly on the guitars “Ne Vedaja Temnyh Predelov Pechali…” allow guest drummer Vladimir “Vile” Lyashkov (Decay Of Reality and Beheaded Zombie) to thump the kit vigorously without any need for an elevated pace keeping the doomy quality of the music, whereas on “Holodnyj Prizrachnyj Rassvet…” the pace is a little quicker and the snare pounding a touch snappier. E.S.’s vocals are also far more guttural and work well with Alexey Ignatovich’s spoken and Ksenia’s soprano as he sustains the growls.

The doom death they play is flawless and in “Raj Poterjan…” they let it build slowly and it’s the first time you hear “Vile” doing any double kick work as until this point it hasn’t really been required owing to the fact that their heaviness comes from the execution rather than the speed they play.

The “Outro” is piano and the soothing sounds of the waves washing you back out to the frozen Arctic Ocean.

So if you’re after something melancholy but soothingly heavy at the same time, but don’t care an iota whether you can understand a word that’s said… Then you should check them out. Actually just check them out and make up your own mind.

Author: Marco Gaminara

Lorelei from Russia have signed a contract with BadMoodMan and play Gothic Doom. Sound familiar? Well, the music on this album does, too. Just last year, the same label released the debut of fellow Russian band Aut Mori which certainly was one of the better albums in the field these last few years. It is hardly surprising that Угрюмые Волны Студеного Моря is similar in many respects, relying largely on the same formula and even sharing the exclusive use of Russian lyrics.

The first thing that struck me is the question why a Russian band uses the name of a German rock and/or the myth surrounding it. Since I do not understand Russian, I can only speculate whether the myth is addressed in the lyrics in any way, but whatever the reason for this choice of name may be, there is one connection I can make: in terms of atmosphere, the music could very well be the soundtrack to stories of a siren-like entity who causes tragic shipwrecks. Then again, this could be said about most bands in the genre. A description of the band’s style seems almost redundant – if you have heard Aut Mori or the Ukrainian band Symphonian, you know the drill. Those two acts are a good point of reference in terms of quality, too. None of the usual elements are missing, but you won’t get much beyond that, either: midtempo riffing, mournful lead guitars, ever-present synth strings and a contrastive alternation between growls and soprano vocals…

Speaking of which, the vocals are the central point of criticism here: even though the growls are very strong, they are also very monotonous and fail to convey any emotional nuances. The soprano vocals, on the other hand, often seem over the top with their extreme vibrato. This is most apparent in “La Vita Fugge E Non S'Arresta Un'Ora”, a short, classically inspired piece consisting of keyboards and soprano only. It almost seems to be intended as an opportunity for the singer to show her abilities, but it actually makes her shortcomings all the more apparent. Fortunately, though, she sings in tune and her vocal lines are very good, adding a lot to the sense of drama which pervades the music.

So basically, Lorelei’s debut has everything a good Gothic Doom album needs: memorable lead guitar melodies, good songwriting, effective vocal lines (if you can live with the vibrato) and an epic atmosphere of tragedy. But for the band to become one of the leading names of the scene (if only of the Eastern European subscene), they will have to bring a little extra something to the table next time. When listening to Угрюмые Волны Студеного Моря, one cannot help thinking that there could (and maybe should) have been more heartfelt tragedy, more depth, more identity and variation. As it stands, it remains ever so slightly behind Aut Mori’s effort and still a rather long way from the interesting songwriting of European idols Draconian. Interestingly, though, the songs become more and more convincing towards the end, suggesting that there is still a lot of unexploited potential. Besides, we have to cut these Eastern European bands some slack for rarely sounding quite like Draconian: the atmosphere generally seems to be more epic, the tempo less doomy, and the border to actual Gothic Metal becomes blurred on occasion (but never actually crossed). This makes for a typical sound which some will love and others will despise. If you love it, you should definitely lend an ear to this band: they take their Gothic Doom seriously, and their album is among the few in the field that I enjoyed enough to keep them in my private collection.

Author: Dominik Sonders
R.U.M. Zine

Na ruské kapely mám v poslední době velké štěstí, no zásobují mě nahrávkami opravdu poctivě. Přiznám se, že o kapele LORELEI jsem doposud nikdy neslyšel, vždyť se také jedná o debutové album, jehož obchodní zacílení se evidentně týká především domácího trhu. Romanticky laděný booklet je pouze v azbuce a taktéž jména hlavních protagonistům nejsou nikterak čitelná, hold hodiny povinné ruštiny mě minuly o jeden školní rok.

Jak jsou ovšem LORELEI čistě východní záležitostí, je zřejmé, že se jejich hudba bude na ruské frontě těšit nebývalému zájmu. Domnívám se, že toho, čeho jsou středoevropané dávno přesyceni, tak to je ve velkém Rusku stále ještě velebeno, ovšem nepřičítal bych to ani tak zpomalené hudební evoluci, ale spíše přísloví „jiná země – jiný mrav“. A doom metalu se zkrátka v olympijské zemi daří a zvláště pak tomu výsostně uměleckému. V hudbě LORELEI jakoby se probouzela všechna velká díla slavných literátů a hudebních skladatelů, nemluvě o bájích a legendách všeho druhu. LORELEI na těchto národních přednostech staví naprosto nezakrytě a i z toho důvodu je hudba tělesa pro domácí obecenstvo určitě přitažlivá, neboť i textová stránka patří k nezastupitelným faktorům kolekce.

Žánrově se LORELEI pohybují na tradiční death-doomové vlně ve stylu raných THEATRE OF TRAGEDY, přičemž nechybí ani prvky spadajícího do gothicrockového ranku. Z komplexního hlediska je však hudba spíše hrubší, valivější, obklopuje ji brutální pěvecký growling, pravidelně doplňovaný vysoko posazeným sopránem děvuchy jménem Ksenia, která pravděpodobně pochází z úplně jiného hudebního světa. Jednotlivé kompozice jsou povětšinou poskládány z chytlavých a nebývale úderných riffů, mezi kterými proplouvají táhle kytarové melodie, žel nikterak zázračně osobité – přestože lze v tomto žánru vymyslet něco opravdu neslyšeného. Velmi příjemně naopak působí vyhrávky klavíru, které tu a tam rozčeří válku mezi „dobrem a zlem“, zkrátka přesně tak, jak to u klasických nositelů žánru bývá.

„Ugrjumye Volny Studenogo Morja“ rozhodně není nahrávka, jež by měla způsobit nějakou zásadní revoluci v metalovém undergroundu. Strnule, leč velmi přesvědčivě se drží standatních doom-gothických otěž a směrodatným ukazatelem jedinečnosti budiž onen národní punc, který z jednotlivých kompozic sálá. Jak už jsem výše uvedl, z mé strany nepředvádí kapela nic extra nového či zásadního, ovšem když si odmyslím všechny potřebné nutnosti, o kterých je zkrátka povinnost psát, musím uznat, že se tenhle počin docela příjemně poslouchá. Pokud jsou mezi vámi milovníci již výše uvedených THEATRE OF TRAGEDY, MACBETH či FLOWING TEARS, vězte, že ani LORELEI vás jednoduše nemohou zklamat. To, co dělají, dělají zkrátka dobře. Je jen otázkou, jestli to v budoucnu bude stačit na něco víc…
Atmosfear Magazine №13

Ещё одни претенденты на лавры таких грандов как THEATRE OF TRAGEDY, DRACONIAN, TRISTANIA и иже с ними. Как вы уже наверное догадались на своём дебютном альбоме россияне избрали дорогу в жанре gothic/doom metal. Похвальное стремление, ничего не скажешь. Только один вопрос: зачем? Нет, ну, правда, кому нужна ещё одна копия вышеупомянутых команд? Разве что самим музыкантам и их друзьям. Материал под устрашающим названием "Угрюмые волны студеного моря" несет в себе ту самую угрюмость всех совковых коллективов играющих в данном стиле. Всё вроде бы хорошо сделано: и запись (Primordial Studio), и сведение (Dead Dog Farm Studio), и оформление (Dark Design Studio), но проблема в том, что ничего нового вы тут не найдете. Здесь всё так предсказуемо и безнадежно, что сразу же невольно задумываешься - неужели это кому-то ещё может быть интересно в наши дни? После прослушивания сего творения никаких эмоций практически не остается. В общем, как я уже говорил выше - всё дико угрюмо и предсказуемо. Только для упертых коллекционеров, которые не пропускают ни одной новинки в данном стиле.

Author: CS
Scream Magazine

Fra Russland kommer Lorelei, med death vokal så mørk at Cannibal Corpse fremstår som sølvguttene i forhold. Stilmessig er dette heldigvis en hel del roligere, nesten Anathema/My Dying Bride-aktig, med melodiøse og melankolske gitarpartier, som også er bandets styrke. Den kvinnelige operavokalen som er deathvokalens motpol er bare slitsom, dessverre. Veldig synd, for Lorelei høres faktisk ut som om de er inne på noe her. Bandet hadde fungert bedre med kun death vokal. Låtene er det egentlig ingenting å si på. Det er mørkt og trist, og av og til rett og slett vakkert. Lyden av hav og vind spiller en nøkkelrolle i bandets sound, og det fungerer utmerket.

Author: Hans Mikael Ødegaard

I Lorelei, prima di raggiungere il debutto con questo disco, hanno fatto una gavetta davvero lunghissima: attivi da oltre un decennio, con un demo nel 2007 e un ep nel 2011 hanno aperto la strada a "Угрюмые волны студёного моря", uscito per BadMoonMan Music (sotto-etichetta della più nota Solitude Productions). Premesso che il disco (come buona parte del materiale che arriva in redazione dalla Russia) è piuttosto criptico, con un libretto completamente in cirillico e informazioni online generiche e poco precise, è il caso di dire che la formazione moscovita ha centrato il bersaglio.

Autori e sostenitori di un gothic-doom di matrice nord europea, con radici nei primi Theatre Of Tragedy, primi Lake Of Tears, Funeral, Draconian e compagnia cantante, i Nostri intrecciano sapientemente riff granitici e melodie sia di chitarra che di tastiera (quest'ultima mai abusata, anzi, sempre dosata con grande gusto), down e mid-tempo, growl e cantato operistico. Circa quest'ultimo punto, è evidente che la bella Ksenia ha studiato parecchio, tanto canto e solfeggio quanto l'operato di Tarja Turunen durante il periodo d'oro dei Nightwish; il risultato è un'interpretazione decisamente sopra le righe, magari un po' "eccessiva" per gli standard del genere, ma proprio per questo segnale di incontestabile personalità. Gli altri quattro membri in formazione non sono da meno: profondità nella composizione, varietà nelle strutture e competenza strumentistica sono tutte frecce nella faretra dei Lorelei, che si presentano al traguardo del primo lavoro con notevole padronanza dei propri mezzi.

Non mi è possibile approfondire l'aspetto tematico del lavoro, poiché l'unica traccia indicata in caratteri non cirillici è l'interludio centrale "La Vita Fugge E Non S'Arresta Un'Ora", direttamente da "Il Canzoniere" di Petrarca. Sono anche ragionevolmente certo di aver captato dei passaggi in latino durante "Холод безмолвного зимнего леса...", ma non oso sbilanciarmi oltre. Il resto, ovviamente, è tutto cantato in russo.

"Угрюмые волны студёного моря" è un esempio lampante di come vada confezionato un album di genere: tutti gli elementi più classici, qualche evidente rimando, ma allo stesso tempo la sapiente aggiunta di qualche componente personale e una scrittura assolutamente matura. Per tutti gli appassionati del genere, l'ascolto dei Lorelei è caldamente consigliato; per tutti i non appassionati del genere, magari non sarà questo il disco che vi farà cambiare idea, ma non si può mai dire.

Author: Bosj
Funeral Wedding

Há quase 20 anos passam pelo mundo, bandas do chamado Gothic/Doom, muitas delas hoje já foram esquecidas e algumas ainda se mantém firmes e fortes, e influenciando as novas que vêm surgindo e renovando o estilo.

Veja o caso dessa banda, formada há 10 anos atrás, debutaram com sua demo somente em 2007, um EP em 2007 e somente ano passado (2013) que estrearam com um full-lenght intitulado: “Угрюмые Волны Студеного Моря”. Isso mesmo, é cantado em sua lingua natal.

Já nos primeiros acordes de “Холод Безмолвного Зимнего Леса…”, sentimos uma forte influência de Draconian em sua sonoridade. E isso não é visto de forma ruim, pois como não entendemos nada do que está escrito, nos atentamos a melodia e o que nos passa é uma sensação agradável.

Na sequência temos “Тенью Безликой…”, com uma bela atmosfera criada pelos teclados, temos o vocal cavernoso de Alexey Ignatovich e seu contraponto, os belos vocais líricos de Ksenia “Serafima” Mikhaylova. Vale ressaltar que os vocais da donzela são mais operísticos do que a maioria dos vocais que têm surgidos nas bandas recentemente.

“La Vita Fugge, Et Non S’arresta Una Hora…” é um interlúdio operístico sofrido, que serve de introdução para a bela “Ne Vedaja Temnyh Predelov Pechali…”. Esta última é uma das melhores canções do álbum. Repleta de melodias, com destaque ao trabalho excepcional das linhas de guitarra de Andrey Osokin e o peso da base de Alexey Ignatovich.

Outros destaques para o disco vão para: “Угрюмые Волны Студеного Моря…” e “Рай Потерян…”

Vale ressaltar que, segundo o press-release, a temática da banda é inspirada pelo renascentismo e o romanticismo, em particular pelas poesias de Francesco Petrarca. Se você é fã dessa vertente do Doom Metal, pode ir já comprar a sua cópia, pois não irá se arrepender.

Segue abaixo o tracklist “traduzido”.

Wer immer den Tod des Gothic Metals festgestellt hat, hat es leider versäumt, die traurige Nachricht dem russischen Fünfer von LORELEI zu überbringen. Deren Debut "Угрюмые Волны Студеного Моря" (übersetzt etwa "Schaurige kalte Meereswellen"), das über das ebenfalls russische Label BadMoodMan (eng verknüpft mit Solitude Productions) erschienen ist, entlockt mir jedenfalls nicht viel mehr als ein "Boah, das ist sooo Neunziger!".

In der Tat klingt die in Moskau ansässige Band 2013 in erster Näherung so wie THEATRE OF TRAGEDY bereits 1995 ("Theatre Of Tragedy") und 1996 ("Velvet Darkness They Fear") - was für sich genommen schon Grund genug ist, für "Угрюмые Волны Студеного Моря" keine Empfehlung auszusprechen. Dazu kommt aber noch, dass LORELEI weder musikalisch noch technisch an die Norweger herankommen - auch wenn die Produktion wirklich anständig ist.

Wer sich jetzt noch nicht denken kann, wie "Угрюмые Волны Студеного Моря" klingt: LORELEI servieren in den sechs Songs (plus Intro, Outro und ein - warum auch immer - italienisch betiteltes Interludium) zähen Doom Metal, der mit dicken Keyboards, männlichen Growls und weiblichem Geträller garniert ist. Das ist alles souverän arrangiert, gut gespielt und auch Sängerin Ксения Михайлова ist technisch zwar durchaus versiert, in Timbre und Intonation allerdings für meine empfindlichen Ohren eine ziemliche Belastung; ich mag Operngesang einfach nicht. Darüber könnte ich sicherlich hinwegsehen, wenn die 47 Minuten irgendwelche spannenden Momente zu bieten hätten. Hätten.

Wer also immer noch nicht genug vom Die-Schöne-und-das-Biest-Gothic-Metal hat, kann sich die Songs ja mal zu Gemüte führen - auf der Bandcamp-Seite LORELEIs gibt's das Album im Stream. Ich greife lieber zu den oben genannten Alben - und würde das allen anderen auch empfehlen.

Author: Falk Wehmeier
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