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Wedding In Hades - Misbehaviour (CD)

gothic metal / doom death, BadMoodMan Music, BadMoodMan Music
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BMM. 050-12 x
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The second album from French band demonstrates musicians’ progress in composing and technical aspects. Melodic and, at the same time, heavy «Misbehaviour» is filled with beautiful guitar solos, passages to aerial acoustic interludes and clean vocals, and violin parts performed by guest professional artist. Dark beauty of this album will become a perfect present to every fan of sensual heavy music. Finally, high recording quality highlights every feature of Wedding In Hades music.

Tracklist:
1 Forsaken 11:50
2 Men To The Slaughter 7:02
3 Sleeping Beauty 6:16
4 Dust In A Stranger’s Eyes 9:33
5 Regrets 4:50
6 The One To Blame 4:49
7 Almost Living (But Not Dead Yet) 9:14
8 Men To The Slaughter (Reprise) 3:09

Artist:
Wedding In Hades
Artist Country:
France
Album Year:
2012
Title:
Misbehaviour
Style:
gothic metal / doom death
Format:
CD
Type:
CD Album
Package:
Jewel Case
Label:
BadMoodMan Music
Cat No:
BMM. 050-12
Release Year:
2012
Country Of Manufacture:
Russia
Review
Damned by Light
6+/10
08.06.2012

In the melancholic crossroad between gothic and doom a Wedding in Hades is held.
The music is romantic but contains a dark twist that seems to indicate fatality. The question at hand is “how fatal?”

Going back almost 20 years to my youth, the shining edge of this type of music would have been “Velvet Darkness they Fear” from Theatre of Tragedy and back in those days I would have loved to get my hands on this. Now at the pinnacle of my life thus far, Wedding in Hades is too little and too late for me.
In difference to many romantic bands Wedding in Hades operates mainly with only male vocals.
Both the clean vocals and growls do their job and fit the music.
“Misbehaviour” is fairly produced with an ample sound and everything sounds great.
Whilst the music is perfect ‘muzak’ to drinking red wine in candlelight, it doesn’t wake the will and emotions to make mortal love on satin sheets in front of a roaring fire.
In other words Wedding in Hades fails to connect with the listener on an emotional level. This is a great lack in music of this kind.

All in all Wedding in Hades is on a right trail, but something is missing.
I don’t know if it’s the band who lacks ability to transfer emotion or if the production adds a coating of wax over everything, but something is lost in translation.

Author: Kenneth K.
Review
Metal.tm
7/10
17.08.2012

Das französische Quartett WEDDING IN HADES beehrt uns nach dem 2010 veröffentlichten Debut "Elements of Disorder" in diesem Jahr mit ihrem zweiten Album "Misbehaviour". Großartige Veränderungen gibt es auf diesem Album nicht zu vermelden, aber warum auch?
Auch auf diesem Album bleiben die Jungs aus Saint-Brieuc (Bretagne) ihrem Mix aus MOONSPELL und MY DYING BRIDE treu. In dem Sinne also eine klassische Fortsetzung des bereits gebotenem Stoffes, und genau da liegt meiner Meinung nach der Knackpunkt. Die Kompositionen sind für meinen Geschmack immer noch etwas zu lang bzw. in die Länge gezogen und einen wirklichen Unterschied zum Debut kann ich auf "Misbehaviour" nicht feststellen. Ich muss aber zugeben, dass hier auf hohem Niveau gemeckert wird, denn die Arrangements und die Songs an sich (abgesehen von der Länge halt) sind wirklich sehr gut gelungen. Besonders aufwertend finde ich die Keyboards und das Violinspiel welches aber leider nur in drei Songs eingesetzt wird. Die Produktion ist etwas dumpf-hallend ausgefallen was aber nicht wirklich ins Gewicht fällt und den Gesamteindruck nicht beeinflusst. Gutes zweites Album der Franzosen das bestimmt auch in Gothic-Kreisen gut ankommen wird, aber eben (noch) nicht den ganz großen Wurf darstellt.

Anspieltipps : Der 12 minuten Opener "Forsaken" und "Sleeping Beauty"

Author: Sascha S.
Review
Brutalism
4/5
20.06.2012

From the Brittany region of our France comes a four piece Death/Doom outfit by the name of Wedding in Hades and their sophomore full length release mischievously entitled "Misbehavior". Starting with a hint of classical, Wedding In Hades then proceeds with a slow paced My Dying Bride style of somber melodic Doom Metal. With a nice contrast in vocal styles, flicking effortlessly between clean yet haunting, and growling and ominous, Wedding in Hades have the dark and eerie quality required for this style down perfectly, and their riff-age is gloomy, down beat and oppressive. These are all traits that any Death Doom band must possess if they are serious about what they do, but where Wedding In Hades stands out is with their song writing. Not content to fall into obscurity, "Misbehavior" has been creatively thought out well in advance and the songs included on this album are structured supremely well. Wedding in Hades venture into catchy groove laden riffs quite often yet are equally as comfortable breaking down their melody and flow and delving deep into the depths of darkness for an atmosphere of pure doom like dominance, slow, predatory like soundscapes that dwell within the shadow like places of the world.

"Misbehavior" may not be of the most original or genre defining nature, but the music on offer is well crafted and subtly put together, an album of polar opposites and stark contrasts, darkness and light, soft and hard, but is most of all thought provoking and thoroughly enjoyable throughout.

Author: Luke
Review
Global Metal Apocalypse
7.5/10

French Death Doomsters Wedding In Hades make their awaited return with their sophomore full-length album 'Misbehaviour', fully of melancholy and sorrowful depression, this record is enough to make anyone weep unintentionally because it carries the darkness in one package. Such an improvement has happened since their debut album 'Elements of Disorder' gloomed out the surroundings in 2010, the songs are darker and more slower and yet they capture a real misery side to release, just a shame the first song is far too long.

Author: RHYS STEVENSON
Review
Funeral Wedding
5/5

Passado dois anos do lançamento do debut, eis que retornam com um belíssimo segundo álbum.
Já nos primeiros acordes podemos notar, além de uma qualidade de gravação superior ao debut, também um cuidado maior com as composições. Não que as do debut fossem ruins, muito pelo contrário, mas nesse Misbehaviour podemos notar partes mais melancólicas e partes mais “agressivas”.
No álbum anterior senti uma pegada muito maior do gothic/doom em suas composições, e neste álbum podemos notar que a banda deixou fluir seu lado doom/death, o que me agradou em cheio.
Forsaken, faixa que abre o disco, meio que resume todo esse sentimento, pois temos uma linha de violino já em seu início, vocais melancólicos de S.Toutain cantarolando as primeiras frases, para depois o peso das guitarras se fazerem presentes e S.Toutain começar a mostrar o poder de seu vocal gutural. Um pouco antes da metade o som da banda dá uma parada e vai se arrastando em um quase Funeral/Doom e se torna um dos momentos mais marcantes da faixa.
Men to the Slaughter é a seguinte e nos brinda com uma bela linha de guitarra, além do primeiro solo que lembrou muito as frases de Gregor Mackintosh na época do álbum Gothic. Outro detalhe que marcou na faixa é a presença de refrão, e apesar de ser apenas a frase “Shoot to Kill”, torna-se impossível você não cantarolar.
Sleeping Beauty começa com uma caixinha de música daquelas infantis, e temos novamente a guitarra conduzindo a faixa com frases de guitarras e os vocais limpos dão um toque “angelical” para ela, a entrada do “anjo mal” com os vocais mudando de rumo.
Uma coisa que fica latente no som desses franceses é a influência de Type O Negative, pois em muitas vezes presenciamos os vocais sussurados sendo levados pelo baixo e a atmosfera de teclado dando todo o clima, como presenciamos no final da faixa.
Dust in a Stranger’s Eyes é outra faixa voltada ao doom/death arrastado e a presença de violino tocado de forma simples, da um charme especial para ela pois ele (o violino) não tira a atenção do que está sendo tocado.
Os já citados vocais guturais de S.Toutain dão um toque maléfico para a faixa, pois nota-se um certo desdém ao escutar a frase: “… Forsaken by Angels, addicted to their dust. Cursed by the poison that runs in your veins…”.
Regrets, apesar de seu início lento, rapidamente ganha velocidade e parece que logo irá rolar um blast beat, mas pelo contrário, há uma nova quebrada em seu andamento e somos surpreendidos por uma passagem acústica, para logo as guitarras cadenciadas se fazerem presentes. The One to Blame inicia logo dando impressão de ser continuação da faixa anterior e seguindo na mesma pegada.
Almost Living é uma faixa longa e é ela que encerra o álbum, já que seguindo temos a faixa Men to the Slaughter (Reprise) que é uma versão editada da mesma. Voltando à Almost Living que inicia com um clima de teclado e violões sendo acompanhados pelos vocais limpos do já citado cidadão.
Novamente nessa faixa os violinos se fazem presentes, sendo bem encaixados e podemos escutar toda a harmonia entre ele e a guitarra. Essa música deve ser bem interessante de assistir ao vivo somente para presenciar as mudanças de vocais em suas passagens limpo/gutural/limpo numa mesma sequência de frase.
Para quem já havia se supreendido com o debut, tenho certeza que esse play irá surpreender novamente e por um bom tempo irá ficar em seu playlist.
Review
Metalstorm
29.05.2012

Wedding In Hades' sophomore album presents melodic doom/ death doom metal with, dare I say, a hint of gothic doom at times. The tempos are generally slow and the mournful guitar leads offer a rich and palpable picture of loneliness. Build-ups are hypnotic, and the mood is just sublime. However, many of the songs are simply missing something, like when you cook with too little salt. The meal might have great ingredients but needs something to tie it together. Misbehaviour needs more salt.

When the band is on, the build-ups are engaging and you can't help but fly right along with them. Growled vocals are supported by occasional clean male vocals and swirl around the mesmerizing guitars. Despite a bit of Pete Steele worship, singer/bassist S. Toutain's clean vocals are quite nice and used at just the right moments. Melodies are familiar after just a listen or two and draw you in nicely.

That's the norm for this album, but from time to time the atmosphere has a tendency to wander off on its own and leave a confusing, bland taste. Again, needs more salt; something is missing from this music. As if the band realized this, they occasionally jump around with sudden changes leaving the listener wondering, "Is this still the same band?" The eclectic elements are sometimes welcome; other times I was scratching my head at the randomness of it all. The song "The One To Blame" is full of these sudden changes and while it starts off extremely strong, with a great groove and high energy, by the end of one track we've taken a tour through several other genres.

Definitely check this out if you need some doom with good atmosphere and a few surprises. Not all the surprises will make sense but hey, that can be fun, too.

Author: Susan
Review
Hellride Music
29.05.2012

With some styles of metal such as the funeral/death/gothic doom genres, it can be difficult at first listen to actually discern any variation or distinction between many bands that fall into that style and therefore after awhile it becomes a bit exhausted and “done”, but Solitude Productions/BadMoodMan always manage to find the best out there and keep these styles moving past the standard and traditionals and into a slightly different and still heavy,emotional, and suffocating intensity metal direction. Wedding in Hades is one of these examples of a band that can blend sorrow and heavy abysmal slabs of crushing riffage, some brutality and sinister moods, and melodic (almost symphonic in parts) metal with majestic and epic atmospheres without the drama that could kill it all like a mudslide over a blazing fire. Think Warning, Well of Souls, Swallow the Sun, Solitude Aeturnus, Mirror of Deception, Isole, Forsaken, and even Agalloch all mashed up together and that’s the depth and versatility of Wedding In Hades.

“Sleeping Beauty” is basically epic doom right down to the guitar tones rumbling and vibrating through distinct chord strikes, the clean and raspy vocal switheroo, and the rhythm progressions. The unique thing here is that even though we’ve heard these sounds before, they are packaged and presented differently here.

“Men to the Slaughter” showcases some more up-tempo melodic doom with some incredible symphonic background, acoustic passages, and great metal leads that break up the DOOM but never get too far ahead of the rolling boulder behind them that is doom. The vocals are raspy but the rhythm of the vocals delivery acts almost as a hook, if the tempo were not that of sluggish ball and chain dragging doom it’d be a fist-pounding anthem.

“The One to Blame” reminds me a bit of the sounds of Altar of Oblivion. On here they bust out pure and heavy doom and metal aesthetics with some serious balls, an almost shredding tone and some stomping rhythms that borderline Hell raising traditional metal and drudging and steady pulsing doom. Lots of great melody and tempo variation that keep this beast cranking and barreling down the road between the “full on” and the disparaging.

I’ve tried very hard to wrap my head around this one well enough to convince others accurately of its greatness, but with something this incredible and intense it’s impossible to do so. If you’re an epic doom and darker doom nut like myself and have the likes of Solstice, Solitude Aeturnus, Mirror of Deception, Forsaken, Helllight, Evoken and so on almost programmed into your brain from years of habitual dedication then you really need to invest in hearing Wedding In Hades.

Oh...On one last note, another chilling song on here “Almost Living (But Not Dead Yet)” seems to balance crushing doom with traditional doom, especially in the tremolo guitar riffing, and the rhythms are so crisp that it’s impossible avoid being haunted by this one for hours afterward.

Author: Janet Willis
Review
Pavillon 666
6/10
09.05.2012

Après des débuts encourageants, et un « Elements of disorder » (2010, voir la chronique en ces mêmes pages) aux qualités certaines, les bretons de WEDDING IN HADES font leur grand retour en cette année 2012 avec « Misbehaviour », paru sur la section BadMoodMan Music du label russe Solitude Productions.
Leur premier album avait, malgré quelques maladresses et facilités propres au style, le grand mérite de réconcilier, sous son « melodoom » inspiré par les British de MY DYING BRIDE, PARADISE LOST, ou encore DRACONIAN, différents aspects et identités du metal extrême (avec d’audacieuses inclusions black ou death metal). Ce « Misbehaviour » abandonne en partie son labyrinthe musical pour en revenir à quelque chose de moins syncopé, de moins hybride dans la forme… À une musique à l’ambiance autrement moins sombre, qui expose et explore des voies entrouvertes par son prédécesseur, tout en atténuant certaines aspérités, certaines atmosphères.
Quid des accélérations, à de rares exceptions près. Ici, le « doom-metal mélodique » (que certain qualifieront aussi de « gothique ») pratiqué par le quatuor est plus posé, mélancolique… évoquant toujours le spectre britannique ainsi que, par instants, les danois de SATURNUS.

À travers son titre liminaire, « Forsaken », et ses lignes introductives de piano en arpèges, accompagnées d’un violon qui fait son apparition discrète tout au long de l’album, comment ne pas entendre les échos de « Veronika decides to die » ? Lenteur, raffinement, mélodies éthérées… Le travail des guitares, soutenues par une basse au son chaud et rond, ainsi que par un synthé discret, alterne entre power-chords lourds, leads mélodiques, breaks acoustiques et de légères montées en tension aux résonnances death-metal… le tout servi par une batterie le plus souvent down-tempo (par exemple dans « Men to the slaughter »). L’articulation des riffs et des rythmes ne souffre presque plus des largesses et incohérences passées. Enfin, le travail vocal de S.T est lui même à souligner et à mettre en valeur… voix écorchée vive, voix gutturale-éraillée… ou encore voix claire sans fioritures.

Vous vous demanderez donc où se trouve le bémol. Où se trouve le « mais ». Car, en effet, il y a un, voire plusieurs « mais ». En dépit d’une bonne production, organique comme il faut, d’atouts réels dans la composition et les idées d’ensemble, « Misbehaviour » souffre de sa généricité. Ce melo-doom/death joue dans une cour aux codes archi-balisés, avec des gimmicks parfois irritants, des conventions d’écriture qui rendent l’architecture d’ensemble prévisible. Evidemment, le second reproche concerne le parti pris d’atmosphères plus lisses, certes, mélancoliques, mais moins oppressantes que celles d’ « Elements of disorders »… Les riffs « extrêmes » (bien trop rares) manquent généralement de punch et ne décolle jamais véritablement… Sans doute l’excentricité « thrashy » de « The one to blame » (dont la structure est assez dissonante par rapport au reste) éveillera la curiosité de l’auditeur… mais c’est encore trop peu…

En définitive, cet album est bien plus accessible… bien trop accessible. La neurasthénie et la psychose ont cédé leur place à la petite déprime de l’amoureux transi. C’est un album frustrant, au goût d’inachevé… par moments naïf. Reste ainsi l’impression d’un talent qui se laisse aller à la facilité. Bien fait, oui… mémorable, aucunement. Avec « Misbehaviour », WEDDING IN HADES rentre, malheureusement, dans le rang. Espérons qu’il en sortira rapidement.

Author: Nebelgesang
Review
Iye Zine
15.05.2012

I francesi Wedding In Hades giungono alla seconda prova su lunga distanza sotto l’egida della BadMoodMan, label affiliata alla Solitude e, quindi, sinonimo di qualità assoluta.

“Misbehaviour” non delude le attese, presentando un band in grado di tessere trame musicali costantemente in bilico tra death-doom e gothic, sulla scia di quanto fatto dai My Dying Bride, particolarmente nella prima parte della loro carriera.
Del resto, nel commentare le nuove uscite in questo campo, il nome della band di Aaron Stainthorpe viene spesso citato, ma non sempre a proposito; in questo caso, invece, un brano come “Forsaken”, che apre alla grande il disco, riporta subito alle atmosfere di “As The Flower Withers”, con tanto di “growl a cappella” simile a quello presente nella magnifica “Sear Me”.
Nella successiva traccia, “Men To The Slaughter”, emerge una vena melodica più affine ai Saturnus, mentre “Sleeping Beauty” richiama in maniera evidente i Type O Negative, anche per le clean vocals dall’impostazione simile a quella del compianto Peter Steele; questo dimostra che la band transalpina non si limita affatto a ricalcare pedissequamente un solo modello stilistico, cercando invece di rielaborare in maniera tutt’altro che scontata quanto prodotto in passato dai nomi più conosciuti della scena.
Operazione che riesce alla perfezione con “Dust In A Stranger’s Eyes”, brano a dir poco superlativo dalle atmosfere diluite e malinconiche e “Regrets”, con un bellissimo pianoforte a impreziosire una trama musicale gravata di mestizia.
“The One To Blame” appare come l’unico momento discutibile a causa delle sue brutali accelerazioni che stridono rispetto a quanto ascoltato nel resto dell’album; le cose tornano a posto con la sognante e delicata “Almost Living” e con la ripresa di “Men To The Slaughter”, che chiude degnamente un lavoro di pregevole qualità.
I Wedding In Hades confermano le buone impressioni destate con il precedente “Elements Of Disorder” approdando a un gothic-doom raffinato e perfettamente inserito nel solco della tradizione del genere; la prova strumentale del quartetto francese è impeccabile, così come la prestazione dietro il microfono di S.Toutain è convincente sia con il growl sia quando ci cimenta con le clean vocals, anche se in quest’ultimo caso la pronuncia inglese è rivedibile a causa del persistere di un forte accento francofono.
Nulla che possa inficiare, più di tanto, un album che merita di trovare un posto di riguardo nella collezione di chi è costantemente alla ricerca di emozioni in musica.

Author: Stefano Cavanna
Review
Les Chroniques de Beon
17/20
05.08.2012

Ah la Bretagne... Avec son patrimoine culturel celtique incontournable, sa cote de granit rose et j'en passe... et aussi ses quelques groupes de Métal, Heol Telwen, Belenos, Breizh Occult ou encore Under The Abyss. Mais aussi le combo Wedding In Hades, formé à Saint-Brieuc en 2006 et ayant présenté un premier album concept "Elements of Disorder" début 2010, opus présentant un groupe frais aux idées vastes, mais encore légèrement indécises, offrant un Doom/Death très intéressant.

Mais "Misbehaviour", second effort de ce petit combo français, est un album présentant cette fois un quatuor sur de lui, pour un mélange Doom Gothique et Doom/Death assez bluffant...
Dès l'écoute des premiers titres, on fait tout de suite attention une chose remarquable: les claviers. Absolument omniprésents, ils sont utilisés à toutes les sauces, mais toujours dans le juste sens: version piano lugubre comme dans le début de "Forsaken", et bien souvent viennent se greffer des parties symphoniques samplées, rendant ainsi les ambiances plus magistrales et plus à la fois épiques et accrocheuses, dans "The One to Blame" par exemple.

En plus de ça, nous avons droit à de sublimes accompagnements au violon, comme dans "Dust in a Stranger's Eyes", très mélancoliques, proches de certains groupes de Doom Funéraire ou encore avec des sonorités très différentes, proportionnellement aux ambiances.
Et si on parle d'influences, on se tourne de suite vers My Dying Bride pour les lignes de guitares (rien que le début de "Men to the Slaughter" le prouve), Lake Of Tears pour le flot d'ambiances différentes dégagées ici, ainsi que d'autres groupes tels Type O Negative, Novembers Doom, Katatonia...

Ainsi, ces riffs de guitares très proche de My Dying Bride se voient extrêmement mélodiques et mélancoliques, lancinants, variants allègrement les passages relativement doux, version Doom/Gothique avec parfois meme des tendances Doom traditionnel façon Solitude Aeturnus, et les passages plus violents et brutaux avec "The One to Blame" ou quelques instants de "Regrets" même si on est loin d'atteindre la puissance et la vitesse de Novembers Doom, non, Wedding In Hades reste dans la finesse, et oui, on s'en rends compte et c'est presque dur à croire, mais le Doom/Death Gothique de "Misbehaviour" est beau, emprunt d'une beauté noire et profonde qui nous atteins jusque dans nos recoins les plus obscurs...

Une chose ajoutée ici, assez courante ces derniers temps, est le chant clair: souvent placé dans les passages calmes, il est languissant et sombre, mais tout aussi aérien et mélancolique à certains moments, le titre "Almost Living (But Not Dead Yet)" démontre à quel point il est sublime et accrocheur; peu présent et comparé à celui de My Dying Bride il est moins léthargique et dépressif, plus profond que celui de Novembers Doom et moins "mielleux" que celui de Katatonia, il est justement bien original et innovant, sachant faire la juste valeurs entre beauté noire et mélancolique et harmonies plus entraînantes...

De plus, nous avons droit à une courte reprise de "Men to the Slaughter" version chant clair et plus calme, cette reprise le met justement très en valeur, montrant à quel point celui-ci arrive à être envoûtant, un beau titre pour clôturer l'album en beauté...

Quand au chant death... il y a tellement à dire... Niveau chant, on peut dire que les Bretons ont su faire dans l'originalité à tout les niveaux; déchiré, ravageur et sans complexes, lugubre et gras, il arrive à varier entre les susurrements malsains comme dans le début de "Regrets", et entre les passages plus rapides, plus violents, gutturaux, sonnants version Novembers Doom, avec même un agréable "fucking..." lancé à plein poumons dans "The One to Blame".

Sans véritables blasts violents, la batterie est quand à elle agréablement mise en valeur, très cadencée, elle accompagne parfaitement la richesse de la musique avec laquelleWedding In Hades nous emporte très loin dans son univers avec "Misbehaviour", un album riche et efficace, un Doom/Death Gothique de haute-volée, harmonieux et puissant, émotionnel et sombre, qui pourrait faire s'inquiéter les grands du style car s'il y a bien un groupe capable d'arriver à leur cheville, c'est bien ce petit quatuor français.

Author: Béon
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