Evadne - A Mother Named Death (CD)

melodic death doom metal, Solitude Productions, Solitude Productions
400.00 Р
Price in points: 800 points
SP. 126-17 x
In stock
+
The third album by the leaders of the Spanish doom death metal scene Evadne. After the strong success of the previous album "The Shortest Way" (2012) supported by the mini-album "Dethroned Of Light" (2014), the musicians are back with their new full-length work. The impeccable accuracy of the compositions together with the musicians skill give rise to an attractive melodic, atmospheric, soul-touching material. Heavy guitars, keyboards, and growl performance in combination with parties of pure vocals, make the music of Evadne diverse, emotional and fascinating. Listening to "A Mother Named Death" forces you to uncover your feelings every time.

Tracklist:
1 Abode Of Distress
2 Scars That Bleed Again
3 Morningstar Song
4 Heirs Of Sorrow
5 Colossal
6 88.6
7 Black Womb Of Light
8 The Mourn Of The Oceans

Artist:
Evadne
Artist Country:
Spain
Album Year:
2017
Title:
A Mother Named Death
Style:
melodic death doom metal
Format:
CD
Type:
CD Album
Package:
Jewel Case
Label:
Solitude Productions
Cat No:
SP. 126-17
Release Year:
2017
Barcode:
4627080611177
Country Of Manufacture:
Russia
Review
Archaic Triad
25.06.2017

Evadne have been around since 2000, though they spent their first three years using the name Hexenprozesse. A Mother Named Death is their third full-length album, with which they aim to show that Valencia is not lagging behind in the world of death metal influenced doom metal. They do so in a largely straight-forward fashion, though there are a few twists and turns.

The first track lays down the ground work: throughout “Abode of Distress”, the band showcases the various musical strains they’ve put together with aptitude and clarity. The foundation is melodic funeral doom/slow death metal with growling vocals and a constant battery of additional, symphonic instruments. In addition there is a strong scent of more Gothic doom going on here, and as quite often recently this representative of the Archaic Triad staff feels compelled to mention early Theater of Tragedy, whose spirit rests over at least large swathes of the mournful musicianship. In addition to these basics, the use of different vocal styles and a wide variety of scales and melodies means that the song sometimes sound like Candlemass, and sometimes like melodic black metal at its slowest. It’s all very appealing, and feels somehow British. Which, of course, is a compliment when we’re talking doom/death.

The above description of one track holds some water for the duration of the album, though A Mother Named Death never stagnates to repeating some exact formula over and over again for each track. “Scars that Bleed Again” is more intense, even aggressive, when compared to the opener. In fact, there a similarities in tone and even sound to some of the slower passages from Cradle of Filth’s debut album Principle of Evil Made Flesh, even if the vocal style and overall arrangements differ quite a bit. This strange comparison actually fits in a few more places as well, though it probably only works if you disregard the later development of CoF into a shock rock band.

“Heirs of Sorrow” is perhaps even more catchy, even if it also slows down to heavier doom passages for much of its duration. In “88,6”, we get a carefully plotted experimental/atmospheric piece built on piano and choral voices. In this reviewer’s opinion, the band is at their best when they focus on crushing but melodic, slow doom – tracks like closer “The Mourn of the Oceans” and nine minute epic “Colossal” are absolutely fantastic. Even so, the variation in style does much to keep the album interesting, and there is no song here that should have been left out.

A Mother Named Death is pretty darn amazing, and its alchemical mixture of darkness, beauty, anger and virtuosity could be used as a template for how melodic death/funeral doom should sound.

Author: Archaic Triad Staff
Review
Doomed to Darkness Zine
8/10
23.06.2017

Evadne are a band from Spain that plays a melodic mixture of doom and death metal and this is a review of their 2017 album “A Mother Named Death” which was released by Solitude Productions.

Dark soundscapes start off the album along with some heavy yet melodic doom metal riffing a few seconds later which also mixes in with the atmospheric synths and after awhile death metal growls and grim screams start to make their presence known along with a touch of black metal.

Clean vocals are also added into certain sections of the recording and when guitar solos and leads are utilized they are done in a very dark yet melodic fashion while whispers and acoustic guitars are also utilized at times along with most of the tracks being very long and epic in length and one track also adds in a brief use of female vocals and there is also a brief instrumental before closing the album with 2 vocal tracks and all of the musical instruments sound very powerful and when the music finally speeds up a small amount of blast beats can be heard.

Evadne plays a musical style that takes a very atmospheric and melodic style of doom metal and mixes it in with the heaviness of death metal and a touch of black metal to create a sound of their own, the production sounds very professional while the lyrics cover sadness, love, desperation, and darkness themes.

In my opinion Evadne are a very great sounding melodic mixture of doom and death metal and if you are a fan of those musical genres, you should check out this band. RECOMMENDED TRACKS INCLUDE “Scars That Bleed Again” “Colossal” and “The Mourn Of The Oceans”.

Author: OccultBlackMetal
Review
Femforgacs
8/10
26.06.2017

A Solitude Productions és a BadMoonMan Music saját és közös kiadványai jó ideje szolgáltatnak csámcsogni valót a lassú zenék kedvelőinek, főként ami a death/doom metal vonalat illeti, ami idestova 30 éve hasítja ki a maga szeletét a metal képzeletbeli tortájából. Mindezt meglehetősen nagy érdeklődés, rajongótábor mellett teszi annak ellenére, hogy az eltelt évtizedekben gyökeresen nem változott a műfaj, a zenekarokat legtöbbször death metal és a doom közötti spektrumon való elhelyezkedésük különbözteti meg egymástól, valamint a dallamok alkalmazásának mennyisége. Az időnként felbukkanó gótika pedig már csak érdekesség, akárcsak a női énekesek bevonása, akik egy-egy szikár hörgés mellé próbálnak kontrasztot csempészni. A két kiadónak tehát van miből válogatnia még annak a tudatában is, hogy a világot már nem fogják megváltani, de biztos kézzel terjeszthetik az általánosan jónak mondható zenekarok sokaságát. Ezen a jól bejáratott folyósón, útvonalon keresztül került hozzám most a spanyol Evadne zenekar harmadik nagylemeze, amit A Mother Named Death címmel készítettek el, érezhetően egy meghatározott réteg számára.
A 2000-ben indult, de Evadne névre csak 2003-ban keresztelt banda egyértelműen fel kívánja helyezni Valenciát a death/doom térképre és ezért mindent elkövet. Ennek eredménye az esszenciális műfaji felfogás, valamint az irtózatosan hosszúra sikerült lemez, amiben bevetik a súlyos riffek, mély hörgés, tiszta ének és melodikus, melankolikus utazások sokaságát. Női vendégénekes, billentyűs búbánatkeltés és törekvés a tempók változatosságára (ez kevésbé jött össze), szóval minden, amiért egy jó melodikus death/doom lemezt szeretni, élvezni lehet. Ugyanakkor ez az érezhető törekvés, zabolátlan teljesítési kényszer, mondhatni megalománia nyomja rá a végső ítéletet is a kiadványra, miszerint ez nem több, mint egy sablonos tucattermék, amit ugyanakkor bármilyen kockázat, csalódás nélkül bátran fogyaszthatunk. Az Evadne tehát mindent tud a műfajról, amihez végső soron nem tesz hozzá semmit, pusztán éltet, nem hagy a feledésbe merülni.
Ennek megfelelően a kiadvány természetesen a célközönségnek lesz a legértékesebb, aki már a nyitó 9 és fél perces Abode Of Distress meghallgatása után nem érez ingert a folytatásra, annak nem is ajánlom, mert ugyanezen az úton haladunk tovább még egy óra hosszúságban. A szemfülesek viszont már itt megtapasztalhatják a zenekar által prezentált időtlen szépséget, az örök gyászt, ami tiszteletet és figyelmet parancsol, valamint a testünket borzongással átjáró lelki fájdalmat, mely a mezőny sajátja. Minőségi és első osztályú itt minden egyes hang, legyen szó az érzelmekkel teli tiszta énekről, a málhás tempókról, vagy a valóban szívbe markoló dallamokról, amit az akusztikus betétek és a gitárok éppúgy hoznak, mint a billentyűk. Lelkesen csúcsra is járatnak minden elképzelést, ötletet, így nem csoda hát a meglehetősen hosszúra nyúló dalok és lemez, sokkal érdekesebb az, hogy minősége okán én sem hagytam volna le egyetlen dalt sem. A szintén hosszú Scars That Bleed Again például jóval agresszívebb felfogásban, ugyanakkor sötétebben folytatja a lemezt, míg a Morningstar Song már a szépségre és harmóniákra épít. A Heirs Of Sorrow mindhárom dal erényeit elegyíti különösebben ismétlődő elemek nélkül, a számomra a lemez csúcspontját jelentő Colossal pedig nem szégyell funeral doom lassúságig ereszkedni, valamint a már említett gótikát is becsempészni a jól működő gépezetbe. Az albumot záró két, szintén erősre sikeredett monstrumot vezeti fel zongorával és kórussal a rövidke 3 és fél perces 88.6 című tétel, ami után a Black Womb Of Light gyorsabb kezdése valóságos robbanásnak tűnik, de ez persze nem tart sokáig. A lemez talán második legjobb dala zárja ezt a depresszív utazást, ez a The Mourn Of The Oceans, ami egy első osztályú lebegést kínál fel a bánat óceánjának tetején.
Nehéz túlzottan hosszú gondolatokat megfogalmazni az Evadne produkciójáról, mert gyakorlatilag nem nagyon kaphattam fel a fejem rá, nem cuppantotta rá becses fülkagylóimat egyetlen hangszóróra sem, ugyanakkor a háttérben folydogálva mégis jó érzéssel töltött el, kikapcsolt és azt sugározta, hogy minőségi produkciót hallgatok. Valahogy így tudok elképzelni egy jól sikerült látványfilmet is, amiben egy csontig lerágott sztorit adnak el ismert színészek élvezhető kivitelezésben, hangyányi tanulsággal, de nem képes annyira megérinteni, hogy hetek múlva is fel tudjam idézni legmélyebben szántó pillanatait.

Author: boymester
Review
Doom-Metal.com
8.5/10
25.06.2017

Well, OK – I hadn’t encountered Evadne before, and sticking this on the player brought something of an initial “sure, heard that before” reaction, along with a brief moment of wondering which genre classic would be the most appropriate comparison to fit in the ‘sounds like…’. I’m rather happy to say it took a little less than than three minutes to disabuse me of that option. It’s true to say that ‘A Mother Named Death’ offers up some familiar staple elements of the Gothic/Death/Doom canon, from lush, mournful melodies to vast backing choirs, from uptempo lilting gallops to bombastically dramatic riffs, mixed male growls and cleans with a dash of added female vocals, acoustic and simple keyboard interludes…well, to be fair, it probably wouldn’t be Gothic/Death if it didn’t. So, if you’re familiar with bands like Forest Stream, Novembre, Daylight Dies and later Novembers Doom, don’t expect to find too many stylistic surprises coming your way.

The devil, here, is almost inevitably in the attention to detail, and that’s where this experienced Valencian five-piece unit (originally launched in 2000, under the name Hexenprozesse) put their stamp on things. The first, and most obvious, one is that they have a talent for both composition and arrangement. It’s easy, with the fairly genre-typical eight- to ten- minute track lengths, to err on the side of either messy eclecticism or excessive repetition. Evadne do neither, filling the time with well-thought-out and flowing transitions of mood and music; sometimes dipping into more abrupt contrast, such as sections of blackened high-speed double-kick tempo.

The second strong point is clearly the handling of instruments: not only do they have space to work in, but the musicians make the most of that, and the core ensemble of twin guitars, bass and drums each present their own distinct contributions with accomplishment. At times, there’s a hint of Opeth-like progressive metal to be found in the mesh of the individual layers, though those technical elements fit in smoothly as a means to an end, rather than an end in themselves. I particularly like the bass, frequently offering its own lines and movements with a satisfyingly deep and solid tone. The keyboards, used reasonably sparingly, are nonetheless a significant supplement to the more constant driving guitar melodies, blending in and out of proceedings like delicate punctuation, as in ‘Colossal’ or adding a more grandiose and dramatic body to the sound – such as in ‘The Mourn Of The Oceans’ , or even carrying the melody entirely, as on the instrumental ‘88.6’.

The final point I’d note as particularly worthy is the vocal performance. Frontman Albert Conejero alternates between powerful growls and some remarkably emotive cleans, both of which are highly effective vehicles for defining and shaping the mood and trajectory of each track. Add in backing by drummer Joan Esmel, and some female soft whispers and delicate clean contributions, and the range and diversity of voices are a real complement to the shifting evolution of the songs.

I could do a lot worse than compare ‘A Mother Named Death’ with Soijl’s recent ‘As The Sun Sets On Life’, also released by Solitude. They’re not all that close as a musical comparison, but they both have that same feeling of being familiar, yet not too familiar, of using their compositional and musical ability to not merely shoulder anonymously into a well-established part of the Doom spectrum, but to stride in with justifiable aplomb and head held high, and of having a character of their own. It seems a shame, sometimes, to review albums with that sort of feel at point of release: I might almost reach for the phrase ‘modern classic’, but, of course, only history will be the true judge of that. Nonetheless, Evadne’s sparkle and creativity comes highly recommended, and I would strongly suggest getting in quickly with an order if you want one of the limited edition deluxe 6-panel digipak copies – if there’s any justice, they’ll be selling like hot cakes from day one. Me, I’m off to correct having missed their earlier works: a brief glance in the usual places suggests that’s also a back catalogue worth having…

Author: Mike Liassides
Review
Iye Zine
9.5/10
07.07.2017

Le doom band, salvo rare eccezioni, hanno dei tempi compositivi lenti e diluiti che corrispondono in fondo ai ritmi del genere suonato.

L’ultimi full length degli Evadne risale ormai al 2012, quando con The Shortest Way si segnalarono come una delle migliori band in circolazione dedite al death doom melodico; il successivo ep Dethroned Of Light, uscito due anni dopo, pareva essere propedeutico ad un imminente replica di quel lavoro, mentre invece abbiamo dovuto attendere fino ad oggi prima di tornare a godere di nuova musica composta dal gruppo spagnolo.
Per fortuna, come molto spesso accade, la lunga attesa è stata ampiamente ripagata dal livello stupefacente di un album come A Mother Named Death, che non è solo una conferma bensì la vera e propria consacrazione degli Evadne ai vertici della scena.
In poco più di un’ora il gruppo valenciano regala brividi senza soluzione di continuità, mantenendo lo stesso elevato livello di tensione dalla prima all’ultima nota, lasciandolo scemare solo per dare il tempo all’ascoltatore di riprendere il controllo delle proprie emozioni con il breve strumentale 88.6, prima di rituffarsi senza possibilità di riemergere dalle acque plumbee che, metaforicamente, giacciono nel fondo del nostro animo.
La voce di Albert ci scaraventa in abissi di disperazione che solo la bellezza delle melodie riesce a stemperare, assieme a clean vocals, talvolta accompagnate da voci femminili, che paiono offrire un’illusoria ancora di salvezza prima che sia nuovamente l’incedere tragico dei brani a riprendere il sopravvento.
Già detto della traccia strumentale, una leggiadra pennellata di atmosferica malinconia, l’album consta di altre sette autentiche gemme sonore, capaci di sconvolgere emotivamente le menti più sensibili, tra le quali si fatica non poco a scegliere quali ergere ad emblemi dell’opera, anche se Abode Of Distress, Heirs Of Sorrow e Colossal riescono a stupirmi e commuovermi ogni volta, più dei restanti e ugualmente magnifici episodi; in particolare, la seconda delle due beneficia di un afflato melodico che eleva all’ennesima potenza la percezione del valore dell’album, mentre la terza già la si conosceva, trattandosi dell’opener di Dethroned Of Light, eppure in tale contesto il suo cristallino splendore finisce ancor più per risplendere.
In definitiva, qui ci si trova al cospetto di una delle espressioni più alte del death doom melodico, collocabile alla pari delle migliori produzioni di Saturnus e Swallow The Sun.
E proprio a questi ultimi pare ricondurre più di una volta il sound degli Evadne, che già in passato avevano dimostrato di prendere come ideale punto di riferimento, per poi sviluppare una cifra stilistica propria, una delle pietre miliari del genere quale è The Morning Never Came.
Detto questo, a chi avesse da obiettare sull’originalità dell’operato della band iberica, rispondo solo che l’appassionato di doom è diverso da tutti gli altri, in quanto necessita di vedere gratificata la propria sensibilità da una forma d’arte che narri il male di vivere, più o meno latente, presente in ogni essere umano, trovando requie, infine, nel suo smisurato potenziale catartico e lasciando ad altri l’eterna (e per lo più vana) ricerca della pietra filosofale costituita da un qualcosa di totalmente innovativo.
Quindi, il fatto di rinvenire collegamenti più o meno espliciti con la produzione passata di Raivio e soci appare semmai un valore aggiunto (raggiungere quelle stesse vette evocative non può che essere un merito) piuttosto che un aspetto in grado di offuscare il valore di un lavoro che, salvo auspicabili sorprese, difficilmente a fine anno non si troverà sul podio della mia personale classifica.
Per una volta faccio mia una frase contenuta nelle note di presentazione dell’album a cura della Solitude Productions: “l’ascolto di A Mother Named Death vi costringe ogni volta a mostrare le vostre emozioni” e, aggiungo io, non abbiate paura di commuovervi fino alle lacrime, compenetrati dalla musica degli Evadne.

Author: Stefano Cavanna
Review
Infernal Masquerade
9.2/10

Hailing from Spain, today we have Atmospheric Death/Doom quintet Evadne and their latest release “A Mother Named Death”. With the band being on our radar since their debut release “The 13th Condition”, we are quite excited to hear that they have blossomed into a very dynamic and engaging outfit. Delivering over 60 minutes of music, this band aims to take the throne of the most melancholic Spanish band from Helevorn, with this killer release.
Opening with the mellow “Adobe of Distress”, we are treated to a very traditional Death/Doom song filled with pummeling guitars and killer vocal arrangements. We particularly enjoy when a band can mix both clean and harsh vocals in a very organic and complementary way. Invoking their internal Swallow the Sun, “Scars that Bleed Again” delivers a perfect balance of sheer aggression and atmospheric magic, allowing the band to showcase their contrasting versatility.
As the album progresses, songs continue to get darker and darker, like the punishing “Morningstar Song” (featuring the lovely guest vocals of Ana Carolina of Mourning Sun) and the superbly moody “Heirs of Sorrow”. Both tracks showcase perfect execution and very interesting aspects of the band’s very dynamic and diverse sound. With “Colossal”, the band focuses on the atmospheric nature of the track, delivering one of the most mournful and devastating songs in this release.
Providing a breather with the instrumental “88.6”, the band delivers another aggressive blow with the heavy riffs and intense percussions of “Black Womb of Light”. Instantly switching from punishing Doom, to very violent drumming and riffing allows this song to be quite a musical experience. The album closes with the demoralizing “The Mourn of the Oceans”, leaving on a very high note and setting the bar extra high for Evadne’s future releases.
Overall, “A Mother Named Death” is one hell of a release that is up there with albums by Swallow the Sun, Clouds, Saturnus, in terms of quality and powerful music. If you are looking for a new Death/Doom Metal band to check out, look no further and get this album. For all others in the fence, there are plenty of growls, harsh screams, clean vocals, and crafty riffs to entice non-regular Doom fans to like this release.

Author: Dark
Review
Necromance
9/10
10.07.2017

La historia de EVADNE es la historia de una banda que ha sabido forjar su estilo con paso lento pero firme, y sobre todo alejándose de modas, de tendencias y siguiendo su camino. Creándose así a ellos mismos a lo largo de sus tres trabajos completos en una prolongada existencia de casi quince años. Una forma de trabajo, y de vida, que les ha llevado a conseguir editar su segundo CD ya a través de Solitude Productions, y a girar con lo más granado del estilo. Un estilo además que, en este país tiene pocos referentes, pero del más alto nivel europeo. Y los de Valencia están ahí, arriba, con paso firme, sin prisa pero sin pausa, llegando a editar trabajados como “The Shortest Way” y cinco años después esta magnífica obra de melancolía como es “A Mother Named Death”.
A través de una portada de Xavi Forné, con ese estilo tan personal, diferenciador y emotivo que imprime a todas sus obras, se nos presentan estos ocho temas en más de una hora de duración de esta expresión artística de música desde los sentimientos más nostálgicos.
Grabado en los Sp Estudios con Sergio Peiró a los mandos y masterizado por Caco Refojo en Pko Studios, el resultado es un sonido grande y abierto en el estéreo, definido, orgánico y con destreza en la distribución de capas para dejar un trabajo limpio y un camino alisado para poder escuchar el CD completo y del tirón sin cansar el maltratado oído del oyente.
Como decía, ellos han seguido su camino ajenos a modas y tendencias, así que no esperéis aquí una banda doom mainstream con teclados pomposos y voz femenina, puesto que las aportaciones de este tipo de voz se limitan a la magnífica colaboración de la vocalista Ana Carolina (MOURNING SUN) en el tema “Morningstar Song”. Una sensacional canción, heterogénea y capaz de ponerte los pelos de punta en cada una de sus notas, de lo mejor de este preciso y precioso álbum.
Su camino es el del doom melódico, melancólico, emotivo, con ciertos movimientos death, y una variedad exquisita. Consiguen así mantener la inquietud del oyente, y los sentimientos y necesidades emocionales a flor de piel durante todo el trabajo. No carente, eso si, de teclados, piano, guitarras acústicas, y una voz growl muy profunda y de garganta, totalmente diferenciadora y acompañada en bastantes ocasiones de otra más aguda y agresiva, a modo de apoyo y doblaje, dando un resultado muy especial. Susurros, entonaciones, narraciones y voces limpias masculinas ayudan también a este sobresaliente trabajo vocal.
Su doom metal tiende más a acercarse al doom/death del norte de Europa en su gloriosa época del siglo pasado. Más quizás que al de los grandes maestros británicos. Consiguiendo subidas, bajadas, ciertos acelerones death, cambios de ambientes y de secuencias, vueltas a la calma y adornos de lo más melódicos, pero sin abusar nunca de esas guitarras solistas de notas largas y escalas menores.
A la altura de los grandes del estilo y forjándose como una de las mejores bandas nacionales del doom, DOOM con mayúsculas, disfrutando sufriendo desde dentro. Cierra los ojos y piensa, recuerda, remueve tus entrañas y calma tu nostalgia.

Author: Santi Gzlez
Review
Rock Overdose
7.6/10
13.07.2017

Η διαρκώς ανερχόμενη φήμη που έχει ξεκινήσει να διακρίνεται στο συγκρότημα από την Ισπανία, συνέπεσε με την επάνοδο της δημοτικότητας του death/doom ιδιώματος στα επίπεδα των 90’s. Βέβαια, όσον αφορά του στουντιακό κομμάτι, το συγκρότημα δείχνει να επαναπαύτηκε στη φήμη του και τις περιοδείες, καθώς πέρασαν πέντε χρόνια μέχρι να μας παραδώσουν τη νέα τους δουλειά.

Και ο εφησυχασμός δεν περιορίζεται μόνο εκεί, αλλά είναι εμφανής και στο καινούργιο τους άλμπουμ. Οι συνθέσεις συνεχίζουν ακριβώς από εκεί που σταμάτησε το “The Shortest Way”, δηλαδή μια μίξη μελωδικού death και gothic doom, με τις μελωδίες να κυριαρχούν με κάθε τρόπο. Το αποτέλεσμα παραμένει εξαιρετικό συνθετικά, εκτελεστικά και ‘ατμοσφαιρικά’, απλά πλάναται συνεχώς αυτή η αίσθηση πως οι συνθετικές φόρμες και οι μελωδίες όλο και κάτι θυμίζουν από τα μεγάλα συγκροτήματα του χώρου.

Επαναλαμβάνω πάντως πως μπορούν και αποδεικνύουν για άλλη μια φορά πως έχουν αποδεδειγμένη ικανότητα στη σύνθεση και στη δημιουργία ηχοτοπίων με σωστή ροή και επιτυχημένες εναλλαγές συναισθημάτων. Οι συνθέσεις, παρά τη μεγάλη διάρκειά τους, δεν κουράζουν σε κανένα σημείο, καθώς σε κάθε στιγμή βρίσκεται μια τουλάχιστον καλή ιδέα, που κρατάει αμείωτο το ενδιαφέρον του ακροατή. Είτε αυτό αφορά τις πιο γοτθικές και αργόσυρτες στιγμές, είτε τις εντελώς ήρεμες στιγμές που χτίζουν hype, είτε τις πιο έντονες.

Η διαρκώς αυξανόμενη δημοτικότητα του συγκροτήματος που αναφέραμε στην αρχή, αλληλοσυμπληρώνεται με την εξαιρετική ποιότητα και τη σταθερότητα που παρουσιάζει το συγκρότημα. Η έλλειψη πρωτοτυπίας δε φαίνεται να ενοχλεί τον κόσμο που τους ακολουθεί, πρόκειται άλλωστε για το μοναδικό ψεγάδι που μπορεί να τους προσάψει κάποιος. Γι αυτό ακριβώς, ο βαθμός παρακάτω, θα μπορούσε να είναι πολύ υψηλότερος. Η βαθμολογία όμως δε μπαίνει αποκλειστικά με κριτήριο το επίπεδο των συνθέσεων, καθώς σε αυτήν την περίπτωση ο βαθμός θα ξεπερνούσε το 90. Πρέπει όμως πάντα να λαμβάνονται και άλλοι σοβαροί παράγοντες υπόψιν.
Review
All Around Metal
5/5
13.07.2017

Attivi dal 2000, anche se solo dal 2003 con l’attuale monicker, gli spagnoli Evadne arrivano con “A Mother Named Death” al terzo album, dopo “The 13th Condition” del 2007 e “The Shortest Way” del 2012, album quest’ultimo che ha contribuito a far conoscere maggiormente la band valenciana. Evadne che, quindi, dopo il buon EP “Dethroned the Light”, sono chiamati con questo disco almeno a confermare le buone impressioni date con l’album del 2012. E non solo ci riescono, ma la prova la superano abbondantemente tirando fuori un album che riesce ad essere persino più bello del precedente.

E’ possibile sentire nel lavoro degli Evadne richiami ad altre realtà maggiormente note ai più, come ad esempio echi, nel sound, di bands quali Swallow the Sun o Novembers Doom, oppure le atmosfere decadenti tipiche dei My Dying Bride unite ad un certo amore per il Melodic Death/Doom à là October Tide e persino un’ombra di Katatonia (ascoltate l’inizio della bellissima “Morningstar Song” o la parte centrale di “Colossal”). Ma come detto sono solo richiami, un’eco lontana data solo dalla maggior notorietà delle bands sopraccitate, visto che quello degli Evadne è un lavoro estremamente personale, in cui proprio perché il mood non è dei più allegri costringe chi ascolta a far fronte alle proprie emozioni. Tutto merito di un songwriting intelligente e ben misurato, nel quale possiamo trovare, tra i più canonici lunghi momenti Death/Doom, passaggi che per certi versi sembrano più ariosi grazie ad un buonissimo uso di clean vocals, senza che però venga meno per un attimo quel senso di tristezza, disperazione. La sensazione, ascoltando “A Mother Named Death”, di esser persi nell’oscurità.

Ed oscuro è, in tutti i sensi, “A Mother Named Death” degli Evadne. La band di Valencia si è fatta attendere 5 anni (3, contando l’EP del 2014), ma ne è valsa la pena. Dopo quest’album credo sia giunto il momento di elevare definitivamente l’act spagnolo nell’Olimpo del genere, accanto a nomi che non saranno più da vedere come richiami nel loro sound, ma come loro pari. Gli Evadne riescono a trasmettere emozioni, per quanto magari negative possano essere, ma è ciò che deve fare un gruppo che suona questo genere. Veramente un grande, grandissimo disco.

Author: Daniele Ogre
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
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