Evadne - A Mother Named Death (CD) Digipak

melodic death doom metal, Solitude Productions, Solitude Productions
666.67 Р
Digi CD
Цена в баллах: 1000 баллов
SP. 126-17D xs
Нет в наличии
Третий альбом лидеров испанской doom death metal сцены Evadne. После громкого успеха предыдущего альбома «The Shortest Way» 2012 года, закреплённого мини-альбомом 2014 года «Dethroned Of Light», музыканты вновь возвращаются к слушателям со своей новой полноформатной работой. Безупречная отточеность композиций и мастерство музыкантов рождают притягательно мелодичный, атмосферный, трогающий душу материал. Тяжёлые гитары, клавишные, использование гроула в сочетании с вкраплением партий чистого вокала, делают музыку Evadne разнообразной, эмоциональной и увлекательной. Внимать «A Mother Named Death» – значит каждый раз обнажать свои чувства. Ограниченный тираж альбома выполнен в виде прекрасно оформленного шестипанельного диджипака с буклетом, диск с выборочным лаком и золотым напылением на рабочей поверхности.

Треклист:
1 Abode Of Distress 9:33
2 Scars That Bleed Again 8:30
3 Morningstar Song 9:36
4 Heirs Of Sorrow 8:31
5 Colossal 8:45
6 88:6 3:30
7 Black Womb Of Light 7:54
8 The Mourn Of The Oceans 8:16

Артист:
Evadne
Страна артиста:
Spain
Год альбома:
2017
Название:
A Mother Named Death
Стиль:
melodic death doom metal
Формат:
Compact Disk
Тип:
CD
Упаковка:
Digipak
Лейбл:
Solitude Productions
Кат. номер:
SP. 126-17D
Год издания:
2017
Штрих-код:
4627080611177
Страна-производитель:
Russia
Review
Extreminal Web’zine
7/10

Evadne İspanya’lı bir Atmosferik Death Doom Metal grubu,ve şahsen en sevdiğim tarzların birleşimi olan bu çalışmayı da daha ilk giriş şarkısı Abode of Distress’in ilk notalarını duyduğum andan itibaren albümün sonuna kadar büyük bir zevkle dinledim. Brutal Vokallerin keskinliği, Atmosferin tarifsiz güzelliği ve Doom Metal’in ıssızlığı A Mother Named Death adını verdikleri bu çalışmada fazlasıyla bulunan o eşsiz ruhu sizlere sunuyor .Karanlık soundları sevenlere ilaç gibi geleceğine inandığım albümde 8 şarkı bulunuyor, bu albümü çok sevenler içinde ek olarak belirtelim, grubun daha evvel yayınladığı 2 adet albümü daha var, kısacası bu sıcak günlerde kuyunun dibindeki o serin ve karanlığı iliklerinize kadar hissetmek istiyorsanız sizi Evadne saflarına alabiliriz.

Author: Gokhan T
Review
Heavy Sound Webzine
7.5/10
02.08.2017

Si l’Espagne n’est pas le pays le plus répandu pour sa production de groupes de Melodic Doom Death Metal, il ne faut cependant pas l’occulter totalement car depuis 2003, EVADNE revient assez régulièrement avec des albums de fort belle tenue. The Shortest Way, le deuxième album du groupe, avait retenu l’oreille attentive de votre serviteur mais les nouvelles du groupe se faisant rare, j’avais fini par imaginer qu’il était mort dans l’anonymat. Et ce n’est pas la sortie du EP deux ans plus tard, en 2014, Dethroned Of Light, qui pouvait laisser présager une lumière plus intense en provenance de Valence, avec un nouveau titre (“Colossal” que l’on retrouve d’ailleurs sur ce nouvel album) et trois ré-enregistrements d’anciens titres extraits de la démo et des deux premiers albums, cela sentait les fonds de tiroir comme ultime au revoir.

Mais voilà, le genre pratiqué par les Espagnols demande du temps à mettre en place, à structurer, à composer, avec un degré de finesse suffisant pour pouvoir sortir la tête de la masse. Alors, si au final on se dit que cet A Mother Named Death aurait très bien pu être un album d’OCTOBER TIDE, on reconnait surtout le goût de Solitude Productions, un Death Metal rampant très mélodique qui renvoie vers DRACONIAN, NOVEMBERS DOOM, DAYLIGHT DIES, SATURNUS et bien d’autres. Toutefois, des petits détails attirent l’oreille comme cette partie de basse sur “Scars That Bleed Again” et son ambiance qui renvoie aussi vers MY DYING BRIDE, ou ce chant clair sur “Adobe Of Distress” dont la ligne est immédiate mais finalement très addictive.

Il est évident que tout ici rappellera un autre groupe, un autre album, tant tout est codifié et bien balisé, mais on ne peut pas retirer à ce groupe ses capacités à faire bien ce dont on attend de lui, tout cela manque un peu de dynamisme, tout juste “Black Womb Of Light” en fin d’album et son blast tirant vers le Black Metal met un peu de peps dans tout cela, un riff un peu plus noir sur “Morningstar Song” qui contraste avec le chant clair plutôt réussi même si pas très original, mais pour le reste, c’est plutôt paisible, rampant dans une grisaille ambiante. A l’écoute de cet album, je ne peux m’empêcher de penser à MY LAMENT, un groupe Belge qui a récemment refait surface. C’est peut-être cette approche progressive et cette classe dans les parties de guitares leads qui m’évoquent cela car s’il y a bien un moment où la musique laisse une trace d’espoir c’est bien sur les leads de guitare qui rythment cet album.

A Mother Named Death retiendra donc l’attention des amateurs de douceurs sombres, celles qui rampent lentement dans le fond de votre crâne et qui vous accrochent sans que vous ne compreniez réellement pourquoi. EVADNE ne bouge pas d’un iota mais réussit toutefois à rester constant dans la qualité des compositions et d’enregistrement. Car si, en 2012, c’est Dan Swanö qui s’était chargé du mix et du mastering, là c’est à Madrid que cela a été fait pour un résultat tout à fait adéquat à l’univers du groupe. Tout juste, regrettera-t-on le traitement un peu trop clean de la batterie qui manque d’attaque dans les frappes de caisse, par contre, le traitement des voix est plutôt réussi, de même que les guitares. Si cet album n’est pas une surprise, ce n’est surtout pas une déception.

Author: Aymerick Painless
Review
Metalitalia.com
14.07.2017

Dopo una piuttosto lunga assenza discografica, durata ben cinque anni e mitigata in parte dalla release dell’EP “Dethroned Of Light” del 2014, gli spagnoli Evadne si ripresentano sulle scene in un momento in cui, soprattutto nella loro terra natia grazie all’ottimo festival Madrid Is The Dark, si sta riscoprendo un (sotto)genere mai troppo incensato da consensi positivi generali, il death-doom atmosferico. Non molto distante dalle già convincenti coordinate del precedente lavoro, “The Shortest Way”, il nuovo “A Mother Named Death” denota una formazione ancor più maturata e consapevole dei propri mezzi, che convince un’altra volta tramite la proposizione di partiture a tratti molto aggressive, a tratti ricercate e malinconiche. Il metallo oscuro ed emozionale dei valenciani non si concentra solamente su di una parte, su di un’emozione dell’ampio spettro a disposizione delle compagini che si cimentano con il doom-death metal, bensì ne amplia la concezione dandogli un afflato progressivo e memore di gruppi sia primordiali (My Dying Bride, Katatonia), sia di ensemble relativamente più giovani (Ahab, Barren Earth). Gli Evadne cercano di mantenere alta l’attenzione del fruitore, nonostante la lunghezza standard dei loro brani superi gli otto minuti, dando poche certezze e componendo in maniera fluida e dinamica le canzoni, mai troppo ‘pesanti’ da digerire, mai esageratamente dolciastre e ammiccanti. I cambi di tempo sono organici e funzionali alla canzone composta, così come i molteplici mood e vocalizzi utilizzati. Nulla di nuovo o particolarmente sconvolgente all’interno della scena – in fin dei conti “A Mother Named Death” è ‘solo’ un buon disco di genere, scritto, suonato e prodotto con tutti i crismi dovuti – ma comunque un’ennesima ghiotta occasione per imbeversi, alle temperature afose di questi giorni, in defatiganti umori autunnali e depressivi, dotati di arrangiamenti e puntellature da scoprire ascolto dopo ascolto, lasciando scorrere il sentire come un fiume notturno, raggomitolati in un grembo placido conducente alla pace dei sensi.

Author: Marco Gallarati
Review
Metalnews.fr
7.5/10
01.08.2017

Si l’Espagne n’est pas le pays le plus répandu pour sa production de groupes de Melodic Doom Death Metal, il ne faut cependant pas l’occulter totalement car depuis 2003, EVADNE revient assez régulièrement avec des albums de fort belle tenue. The Shortest Way, le deuxième album du groupe, avait retenu l’oreille attentive de votre serviteur mais les nouvelles du groupe se faisant rare, j’avais fini par imaginer qu’il était mort dans l’anonymat. Et ce n’est pas la sortie du EP deux ans plus tard, en 2014, Dethroned Of Light, qui pouvait laisser présager une lumière plus intense en provenance de Valence, avec un nouveau titre (“Colossal” que l’on retrouve d’ailleurs sur ce nouvel album) et 3 ré-enregistrements d’anciens titres extraits de la démo et deux premiers albums, cela sentait les fonds de tiroir comme ultime au revoir.
Mais voilà, le genre pratiqué par les Espagnols demande du temps à mettre en place, à structurer, à composer avec un degré de finesse suffisant pour pouvoir sortir la tête de la masse. Alors, si au final on se dit que cet A Mother Named Death aurait très bien pu être un album d’OCTOBER TIDE, on reconnait surtout le goût de Solitude Productions, un Death Metal rampant très mélodique qui renvoie vers DRACONIAN, NOVEMBERS DOOM, DAYLIGHT DIES, SATURNUS et bien d’autres. Toutefois, des petits détails attirent l’oreille comme cette partie de basse sur “Scars That Bleed Again” et son ambiance qui renvoie aussi vers MY DYING BRIDE, ce chant clair sur “Adobe Of Distress” dont la ligne est immédiate mais finalement très addictive.
Il est évident que tout ici rappellera un autre groupe, un autre album tant tout est codifié et bien balisé mais on ne peut pas retirer à ce groupe ses capacités à faire bien ce dont on attend de lui, tout cela manque un peu de dynamisme, tout juste “Black Womb Of Light” en fin d’album et son blast tirant vers le Black Metal met un peu de peps dans tout cela, un riff un peu plus noir sur “Morningstar Song” qui contraste avec le chant clair plutôt réussi même si pas très original, mais pour le reste, c’est plutôt paisible, rampant dans une grisaille ambiante. A l’écoute de cet album, je ne peux m’empêcher de penser à MY LAMENT, un groupe Belge qui a récemment refait surface. C’est peut-être cette approche progressive et cette classe dans les parties de guitares leads qui m’évoquent cela car s’il y a bien un moment où la musique laisse une trace d’espoir c’est bien sur les leads de guitare qui rythment cet album.
A Mother Named Death retiendra donc l’attention des amateurs de douceurs sombres, celle qui rampent lentement dans le fond de votre crâne et qui vous accroche sans que vous ne compreniez réellement pourquoi. EVADNE ne bouge pas d’un iota mais réussi toutefois à rester constant dans la qualité des compositions et d’enregistrement. Car si, en 2012, c’est Dan Swanö qui s’était chargé du mix et du mastering, là c’est à Madrid que cela a été fait pour un résultat tout à fait adéquat à l’univers du groupe. Tout juste, regrettera-t-on le traitement un peu trop clean de la batterie qui manque d’attaque dans les frappes de caisse, par contre, le traitement des voix est plutôt réussi, de même que les guitares. Si cet album n’est pas une surprise c’est surtout pas une déception.

Author: Simony
Review
Terra Relicta
8.5/10
25.08.2017

In the last couple of years we have seen a rapid growth inside the doom metal genre, with some older bands like for example My Dying Bride and Paradise Lost still raging strong, it’s nice to see more and more underground bands bringing out some amazing doom and the truth is that the underground doom metal scene has actually some of the best bands right now, we got bands like Frowning, Vanha, Sorrowful Land and many more who pretty much conquered 2016 with amazing albums. Now we have the pleasure of enjoying yet another amazing band from the doom universe, Evadne. Their new album A Mother Named Death is as beautiful as it is sorrowful!

The band formed back in 2003 in Spain, probably not the country you’d expect to find a prominent doom band to come out of. With one full length album, The Shortest Way (2012) and one EP, Dethroned Of Light (2014), behind their back, they are now regarded as one of the pioneers and leaders of death/doom in the Spanish scene.

While having toured with bands like Evoken ,Swallow The Sun and Novembers Doom, to name a few, they quickly establihed a strong fanbase. Their new album A Mother Named Death is again one of those doom/death metal records that you just love from the start, without going into too much in depth talk, we can safely say that everything flows together very nice and the songs feel like they have been matured a bit more while also retaining their old-school sound, one thing that is perhaps a bit unexpected is their blending of black metal influences in some parts of the songs.

Evadne is not the type of doom band where you can expect them to be lingering on one riff for ten minutes, they bring everything to their game. Sometimes the songs are almost too fast for being described as a proper doom metal, but I guess this is up for some other discussion, some people might say its more black/doom rather then actual doom/death, hence the growling vocals. The album is characterized by heavy guitars, strong rhythmic line, gloomy keyboards, and growl performance in combination with parties of pure vocals, and all these things make the music of Evadne diverse, emotional and fascinating.

Overall the highly atmospheric sound on this record is amazing, extremely melancholic and organic. It’s hard to pick up favorites as the entire record is a pure milestone of doom, raging from slow funeral doom tempos to more typical death metal tempos and it’s safe to say this is a record that will keep the listener occupied for a very long time. Lingering in a time where everything is almost given away at the start, it’s nice to find a band that still remains a bit unknown to the more die hard fans.

Evadne’s A Mother Named Death is just that extra piece that fits so well with the gloomy days ahead and all human plauges. If you’re looking for that one record to keep you wishing for more then this is it. Being a follow up to their previous works this one surely puts the standards a step higher.

Author: Oliver
Review
Metal Brothers
7.5/10

Desde la ciudad de Valencia los Evadne y su Death melódico mezclado con Doom. Esta banda se creó en el 2000 con el nombre de Hexenprozese y en el 2003 se cambiaban de nombre a Evadne, con este nombre llevan un Ep y una demo, además de este “A Mother Named Death“, que es su tercer larga duración. Un trabajo editado por el sello ruso Solitude Productions.
evadne 2Abode of Distress aúna brillantez y melancolía melódica con solos limpios con voz gutural y cambios de ritmo donde aparecen un trémolo a la guitarra que introduce el Death, pasaje que es cortado constantemente por notas de piano o por pasajes acústicos, básicamente son una banda muy melódica.
Scars that Bleed Again es un tema interesante, basándose en el Viking Metal de los Bathory, en el Doom más atmosférico y épico y pienso en los rusos Scald nos desarrollan un tema con energía donde el batería juega una importante baza. Me gustan los cambios de ritmo, son sencillos pero muy dinámicos y con energía, la banda tiene aire internacional, de hecho son mucho más conocidos en el extranjero que en España, ellos ya hablan en inglés en su Facebook, normal, en este país no estamos preparados para bandas con una apuesta diferente que no sea el soporífero Power metal melódico que habla de dragones y de promesas de amor.
Morningstar Song es un tema pausado y donde la banda introduce el Gothic/Doom con una base de Post Rock interesante. Acústica y voz limpia que nos llega casi en un susurro a lo Paradise Lost o My Dying Bride sobre todo, el caso es que la arrancada no se hace de rogar, con energía y clasicismo y sin perder el sentido melódico al tema.
Son todo construcciones de seis a nueve minutos pero que no aburren en ningún momento. El riff de Heirs of Sorrow es hipnotizador y vuelve a sonar muy melódico pues es una banda más de luz que de sombras. Desarrollan ese riff con épica y una melodía envolvente con aromas de Death Melódico que me recuerda a la última etapa de Sentenced y también cosas más comerciales todavía como To/Die/For y todas esas bandas de Finlandia.
Técnicamente tengo que destacar a Colossal como el mejor tema del álbum. Me convence sobre todo su parte acústica, es triste y melancólica y te atrapa sin remedio. 88.6 es el tema más corto del álbum digamos que es una especie de interludio sinfónico y melódico entre temas aunque a mí me corta el rollo por completo. Black Womb of Light se inicia con técnica y platillos en la batería para luego buscar un arranque de Doom sinfónico y con pinceladas de Death melódico muy blando y evolucionando hacia lo gótico. The Mourn of the Oceans no añade más gloria al álbum aunque presenta unos riffs lentos que suenan majestuosos. Los Evadne son una banda perfectamente consolidada dentro del Doom melódico internacional.

Author: Andoni Bro
Review
Kvlt
7.5/10
29.09.2017

Skąpana w słońcu Hiszpania kryje w sobie z jednej strony dźwięki łagodne i delikatne, a z drugiej zaś melancholijne i ponure, które ani trochę nie przywodzą na myśl beztroskiego wypoczynku nad wodami Morza Śródziemnego. Muzyka pochodzących z Walencji Evadne o wiele bardziej wpasowuje się w jesienną aurę pogodową, aniżeli wakacyjne wspomnienia. Takie „słoneczno-pochmurne” brzmienie zostaje nam zaprezentowane na najnowszym, już trzecim w dyskografii krążku A Mother Named Death, który ukazał się w czerwcu tego roku pod szyldem Solitude Productions.

Płytę otwiera mocne intro oraz zwrotka utworu Abode of Distress. Podwójna stopa oraz ciężkie, wolne riffy znakomicie ze sobą współgrają i pozostawiają naprawdę dobre wrażenie, by później ustąpić melodyjnemu refrenowi okraszonemu czystym wokalem. Te dwie konwencje spójnie się ze sobą przenikają na całym albumie Hiszpanów. W ten sposób muzycy serwują jednocześnie dźwięki chłodne, a zarazem w pewien sposób kojące. Wśród gęstwiny walcowatych riffów nie zabrakło ciekawych linii melodycznych, budujących nastrój całego wydawnictwa.

Rozpiętość wokalna na A Mother Named Death jest zresztą warta zauważenia, choćby w utworze Morningstar Song, w którym czyste wokale niejako tworzą swoistą klamrę kompozycyjną, ładnie spinając ten paraboliczny kawałek . Z początku usłyszymy wyważony, męski śpiew, na końcu zaś partie wokalne zostały powierzone delikatnym, nienachalnym żeńskim śpiewom. Dodatkowo w środkowej części kompozycji muzycy uraczyli słuchacza klimatyczną solówką. Słuchając tego kawałka, oczami wyobraźni widzę pustą plażę z szumiącym lazurowym morzem i wschodem słońca. Bardzo lekko rozpoczyna się również kolejny na płycie Heirs of Sorrow. Przyjemna linia melodyjna gitarowych riffów daje nam chwile wytchnienia od cięższych i przytłaczających fragmentów. Szczerze mówiąc, ta pozycja na albumie wydaje się też jednocześnie najbardziej „radosna” i to ją właśnie odróżnia od pozostałych.

Tak jak już wspominałam wcześniej, nie brakuje też bardzo mocnych i zdecydowanych akcentów. W tym przypadku poza utworem otwierającym, muszę wspomnieć o Black Womb of Light, w którym Panowie na początku bardzo szarżują z tempem, muskając delikatnie rejony black metalu.

A Mother Named Death, to zbiór zgrabnie podanych kompozycji, które z pewnością przypadną do gustu fanom m. in.: Swallow the Sun, When Nothing Remains, a może nawet Doom:VS. Choć całość materiału nie jest niczym przełomowym w ramach konwencji melodic death/doom metalu, to posiada elementy, sprawiające, że odsłuch albumu jest czystą przyjemnością. Jest w tym zarówno siła i majestat, jak i delikatność oraz urok.

Author: Marta (Kometa)
Review
DRUNK IN A GRAVEYARD
10/10
10.10.2017

Every once in a while, there comes along an album that so envelops you in awe (from the very first note onwards) that you are swept away, dumbfounded, to another plane entirely. Such is the case with Evadne’s A Mother Named Death. Striking in its deliverance and composition, majestic in its depth and boasting ‘spot on’ pacing (be it ponderous or a melodic near gallop) it places the listener in a melancholic trance seemingly with ease. This is not such an easy accomplishment, admittedly I’ve struggled through various doom/death releases that just don’t have ‘that’ vibe, as if the artists tried excessively hard to capture a texture/vibe that was just out of their collective reach.
Acts that immediately spring to mind while listening to Avadne are October Tide and Swallow the Sun, though mostly the former. Both have the death/funeral doom balancing precariously on black metal style tuned to a fine art. And both have the power to transfix their audience with their seamless transition from one avenue of emotion to the next. However, what makes A Mother Named Death especially gratifying is that it’s having such an impression on me from the very first listen, this is also my introduction to the band’s material. Previously Evadne have had success with The Shortest Way, their second full length.

With eight tracks spanning, a mere, sixty-four minutes the album is indicative of the genre but unlike many other releases in the same arena it doesn’t waffle on, or appear as if the tracks are lengthy merely for that purpose. Of the eight tracks on offer, Morningstar Song is the longest, barely short of the ten- minute mark, and the most impressive, but it’s by a very slim margin. The track traverses a range of emotions utilizing expertly placed melody and a multitude of vocal styles, from a slow tempo growl to an angelic female voice, to accentuate atmosphere and especially powerful passages making for a track that demands replaying in order that the listener can pick out additional intricacies each new time.

Another track that stands out, by virtue of the fact that it’s instrumental, is 88:6. It stands out on account of its classical feel and overall fascinating Gothic appeal, it could effortlessly be part of a score to a stunning short film when in fact it’s relevance is to a psalm that states You have put me in the depths of the pit, in the regions dark and deep (English Standard Version) the composition is delivered in such a way to fit the implications of such a heady statement perfectly.
From the first note to the last A Mother Named Death is utterly captivating, pungent in its atmospheric potency and an album that can be listened to on repeat without losing any of its initial allure. Without reservation, I’ll proclaim that this have ‘album of the year’ written all over it. And lucky you, there’s no need to wait as its already available to purchase. Break open that dusty piggy bank and make space in your collection!!

Author: Cult
Review
Metal Temple
8/10
10.10.2017

EVADNE’s third full-length album “A Mother Named Death” is an aggressively melancholic production that plays music to the likes of bands such as SWALLOW THE SUN. Depressive yet strangely calming, it is filled with emotive guitar riffs, aggressive growls and soothing cleans. The Spanish band is comprised of lead vocalist Albert Conejero, guitarists Josan Martin and Marc Chulia, bassist Jose Quilis and drummer and backing vocalist Joan Esmel.

“Abode Of Distress” sets the somber tone of “A Mother Named Death”. A heavy track that features warm guitar tones and piano accompaniments, listeners are soon greeted with the deep growls of lead vocalist Albert. Backing vocalist Joan handles clean singing duties, where his vocals mingle with the former’s gutturals within the chorus. However, both vocalist’s voices do not complement each other well in this track. Fortunately, “Scars That Bleed Again” marks a significant improvement in comparison to the previous track. The beats are thunderous, the vocals are as harsh as ever and the atmosphere is downright sullen. Feminine whispers echo near the end of the track, shrouding the song with a ghostly air of eeriness and mystery.

Gentle riffs cloak the opening of “Morningstar Song”, among which Joan’s smooth voice can be heard as he croons the first few lines of the track. As the tempo picks up its pace, his voice is soon joined by Albert’s growls, the latter crushing you with immense intensity. This track features Ana Carolina on female vocals as well, her frail, sweet voice sounding vulnerable against the masculine growls of Albert’s. “Heir Of Sorrow” marks an tonal shift towards the upbeat with its guitar leads and somewhat faster tempo. “Colossal” ends with a soothing guitar passage that makes you want to close your eyes and savor the calmness that slowly engulfs you.

Being the shortest track on this album, the instrumental “88.6” kicks off with a piano solo. The keys dance between heavy and delicate, which soon crescendo into a mass of layered riffs, bass lines and drumming. “Black Womb Of Light” has the occasional hint of gothic metal, its darkly alluring melodies and riffs backed by the dulcet tones of the piano evoking a solemn atmosphere. The vocal passages are dominated entirely by growls that occasionally shift towards snarls. Despite the aggression of these harsh vocals, this does not take away the tender ambient of the track. Lastly, “The Mourn Of The Oceans” takes you to a trip by the sea with its ambient soundscapes and haunting melodies.

“A Mother Named Death” is one of those albums that will make you sit down and contemplate life’s agonies and woes. As strange as it sounds, there exists moments that will pacify you as well, with the melodic rhythms and clean vocals numbing the senses. In other words, EVADNE’s latest album should not be missed.

Author: Chen May
Review
Metallized.it
6.5/10
27.10.2017

Tredici anni di carriera in cui si identifica un solo bagliore intitolato The Shortest Way: si potrebbe liquidare sommariamente così, con una frase forse un po’ lapidaria ma con il pregio della chiarezza, la carriera degli Evadne. Oltre infatti a quel secondo tassello che ha marchiato l’unica impennata qualitativa, la band può annoverare nella propria discografia un demo ed un debut (The 13rd Condition) che si possono sommariamente descrivere come lavori sicuramente di buona caratura ma non imprescindibili, più un EP (Dethroned of Light) decisamente superfluo (o addirittura inutile), se si considera che tre delle sue tracce, seppur ri-registrate, appartengono rispettivamente ad ognuna delle tre precedenti release e che infine l’inedita Colossus è stata inserita nell’ultimo A Mother Named Death. Se a questo quadro aggiungiamo inoltre che dietro il lavoro più rappresentativo del quintetto vi sia celata la presenza di un certo Dan Swanö, in qualità di sesto elemento seppur addetto formalmente al mixing e mastering, una vocina maligna potrebbe insinuarsi con il poco gradito compito di analizzare, ricapitolare e ridurre ad unità i dati oggettivi, concretizzando una teoria in cui emergono seri dubbi riguardo le reali capacità compositive ed il talento degli spagnoli.

Per tutti i sospettosi ecco dunque materializzarsi l’atteso contrappeso, ovvero il terzo full A Mother Named Death il quale, sin dal dischiudersi del suo primo brano Abode Of Distress descrive una band decisamente cambiata rispetto ai brillanti sussulti racchiusi in The Shortest Way, album che poteva contare su differenti punti di forza come una produzione stellare (e non poteva essere altrimenti) ma soprattutto su un continuo dinamismo nel songwriting, dove si ergeva la prova di Albert che, nei suoi tre registri vocali, si mostrava decisamente all’altezza dell’ottimo contesto sonoro impartito dai suoi quattro compagni. Certo il mutamento, anche nella sua “declinazione” musicale, non deve essere accolto per partito preso nella sua accezione negativa, ma di fatto in questo caso la svolta del quintetto non si segnala purtroppo per esiti particolarmente brillanti; esso ha spostato il carattere della band verso una connotazione più tetra e oscura ascrivibile non solo ad una produzione che tende a ridimensionare l’amalgama sonoro in una dimensione più chiusa e asciutta (privandola dunque di quell’esplosività che sicuramente avrebbe giovato alle sorti del disco), ma anche ad un songwriting che appare fin troppo omogeneo e, soprattutto, sul quale si staglia perennemente una presenza ingombrante chiamata Swallow the Sun. Ovviamente, con una simile pietra di paragone a incombere sulle sorti del viaggio, il percorso del quintetto si fa subito accidentato, visto che alcuni richiami nella modalità di evolvere armonicamente gli accordi diventano più che palesi (possono essere emblematici alcuni passaggi presenti in Scars that Bleed Again e Heirs of Sorrow, anche se le tracce di Raivio & co. sono praticamente disseminate ovunque) ma non solo, anche le strutture si segnalano per un tasso di derivatività oltre il livello di guardia (vedasi la prima sezione di Morningstar Song che, nonostante accordi e tonalità differenti, richiama Cathedral Walls). Che si tratti di una scelta mirata o di una semplice “corrispondenza di ispirazione”, alla prova dei fatti tutto finisce per costringere ad un confronto diretto con una band di caratura decisamente superiore e, se proprio si è deciso di solcare questi territori, il risultato volge inevitabilmente a sfavore degli spagnoli. Non aiutano inoltre una lunghezza dei brani (eccezion fatta per la strumentale 88.6 ci ancoriamo mediamente sugli otto minuti abbondanti e non stiamo parlando di un requisito obbligatorio per il genere in questione) che sulle lunghe distanze ha un effetto stucchevole visto che si parla di composizioni piuttosto similari addirittura nei movimenti ritmici, né il cantato di Albert, che, pur sfoderando uno scream ed un pulito eccellente, mostra un evidente cambio di timbrica sul growl a minarne la resa.

Di questo, in A Mother Named Death rimane sicuramente più di uno spunto interessante (come ad esempio Colossal, anche se già pubblicata in precedenza, e la mestissima Mourn of the Ocean che, guarda caso, si libera quasi del tutto dal peso ingombrante della band di Jyväskylä) che non è però in grado di sollevare le sue sorti, consentendoci di articolare un giudizio completamente positivo. È ovvio che chiunque sia fanatico di un genere (salvo future smentite) completamente esplorato come il melodic doom/death troverà un ennesimo rifugio dentro sonorità di questo tipo, ma i palati fini esigeranno sempre quel quid in più che qui non è presente ma che è facilmente riconoscibile in release recenti di artisti di tutt’altro calibro (basta nominare Hallatar e Red Moon Architect e ci siamo capiti). Una release controversa che getta ulteriori interrogativi e ombre sugli Evadne; chiaramente si pretende un bel colpo di coda come smentita, sarà ben accetto.

Author: Michele Mura “5-HT”
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