Autumn Leaves/The Rebellion of Tides (1997, Napalm)
Lineup: Ole K. Helgesen (guitar, vocals), K. Austrheim (drums), Frode Clausen (guitar),
Keltziva (vocals), Elin Overskott (keyboards)
Style: mid-tempo blackish doom with predominantly female vocals
Ever since I heard "Soria Moria Slot," I have been waiting for the next full length album
from this promising band. Well, I am here to tell you that they have fulfilled their promise
and then some. Not only is "Autumn Leaves" better (much better) produced than its predecessor,
but the music has become more complex, polished, intricately woven, and, yes, yes, far more
interesting. The hissing is a bit more restrained (always a good thing) and Keltziva has
acquired some additional singing skills. Couple this with the compositions which frequently
change mood, and you get an unbeatable album.
It has become almost sterile to talk about "commercialization" of black metal these days.
For some odd reason, many still subscribe to the odd notion that "pure" BM is/should remain
outside the ? (I don't know what.) The result is twofold: first, crappy bands continue to
churn out crappy music pretending to be "elite, true, and original" (which roughly translates
into "uninsipred musician-wannabes make boring stuff"); and second, said audience foregoes
the pleasure of hearing bands like Dismal Euphony. While there are some things that need
polishing (the keyboards can become abrasive at times), the band has definitely taken the
direction that makes them stand out from the crowd.
As a whole, the album is theatrical (try playing "Carven" and you'll see), mid-paced doom.
It does not lack its faster moments, though. The melodious female singing is a good antidote
for the male hiss/whispering, which I usually don't care much about. With the folk elements
incorporated in a more aggressive than melancholy mood, Dismal Euphony carve their own niche
and manage to distinguish themselves from the sleuth of Theatre of Tragedy immitators. Even
the acoustic parts sound right. The biggest surprise is track No. 8 ("Splendid Horror") which
is less horrifying but more industrial (can you say, The Kovenant?). I take this back, the
biggest surprise is the 10 minute long hidden song at the end of the album. You have to wait
for about 5 minutes after the horror track ends to get there but it's worth it. Funny stuff.
Funny stuff.
Verdict: definitely a good choice for the discriminating fan of the style, may be too
suppressed for the aggressive metal afficionado, and too rough for fans of the new Gathering.
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