| Musical Style: Orchestral Metal | Produced By: |
| Record Label: Soundmass | Country Of Origin: Australia |
| Year Released: 2018 | Artist Website: Ecthirion |
| Tracks: 9 | Rating: 85% |
| Running Time: 47:31 |
With the December of 2018 release of the Ecthirion debut full length Psalms Of The Risen Dead, Soundmass Records first swing in the orchestral metal ballgame is a knock the ball out of the part hit. Yes, ‘orchestral metal’ can be an open ended statement - and potentially an entirely new segment - but what I hear in Ecthirion is a strong leaning towards the symphonic, classical, theatrical, Gothic, epic, folk-like and extreme but steeped with a power and progressive metal basis. In light of such conglomerating of styles - not to mention influences that range from Nightwish to Seventh Wonder to Dream Theater to Angra to Symphony X - one would be hard pressed not to suggest Ecthirion is one of the more innovate and ingenious performers within current hard music circles. When further factoring how Psalms Of The Living Dead, as its title implies, draws lyrical inspiration from the Book of Psalms, the pictures is complete.
Tracing its origin to 2008 when founded by guitarist and bassist Gabriel Neale, the Southport, UK based group released the following year the combining of Viking and power metal of its debut five song EP Apocalyptic Visions (also Soundmass). Neale proceeded to spend the next nine at work on Psalms of The Risen Dead, joining with classically trained vocalist and wife Hannah Neale and a host of guest vocalists and musicians. Relating to the former, clean vocalists Celso Alves (Allos) and Eugen Dodenhoeft (Far Beyond) and those harsher, David Cooney (Jorvik), lend varying elements of mood and emotion and latter a myriad of trombonist, pianist, flutists and violinists which combine for a neo-classical flair. With such a wide array of performers, it is easy to understand - as we shall see in the song breakdown portion to the review - how Psalms of The Risen Dead presents its share of variation from one track to the next.
Opener “Uproot” sets a splendid if not luxurious neo-classical metal tone. With a jazzy bass line leading the way, the song dances over a foundation of classically influenced guitars as Alves shines with his grainy to earthlike middle register vocal abilities. Enchanting female harmony vocals step forward to adorn the surprisingly reticent (and very melodic) refrain.
I identify with “Chariots Of Elysium” as Gothic symphonic metal, the least of not which being the harsher and fully complementary lower register vocal presence of David Cooney. Of equal note is the instrumental lead in to feature a transition between orchestral keyboards and serene flute, with an apocalyptic tone taken the rest of the way as hints of clean male vocals clash with turbulent guitars and occasional orchestral keyboards. Of note are how the extreme qualities are tastefully done and not to the point of overbearing.
Instrumental “March Of The Risen Dead” opens to a chilling keyboard solo that slowly builds over its first minute. Final three takes a darker tone as portent guitars and chanting extreme vocals take over, as occasional classical keyboards contrast with what amounts an ominous and forbidding scene. I might also suggest the doom-like but am hesitant to do so in fear of adding yet another adjective to an already crowded list describing the Ecthirion sound!
“Morality” is albums shortest ad a minute and a half but also potentially most heavy handed in that the harsher ‘death’ style vocals are laid on a bit thick for my taste. This one might grow thin if the group had carried it out any further.
One of my favorites ensues in the Theocracy style epic power metal to “On Eagle’s Wings”. Opening to several seconds of acapella vocals, the song revels in the victorious, uplifting and outright worshipful as it resides within majestic splendor territory in which violin decorates the backend. Of note is the choir like effect as each front person gets involved and trade off throughout the song: clean and harsher at times and soprano female at others. Beautiful and hauntingly memorable, “Eagles Wings” is certain to challenge for song of the year.
Five songs in and we have gone from neo-classical to symphonic to instrumental to extreme to epic metal. How is that for variety? Also, commend Ecthirion for not going the non-stop robo-double bass drumming route that some within similar genres occasionally do. Yes, a bit of double bass is fine, but do not overdue it to the point of repetition!
“Though A Thousand Fall” is another masterpiece. Touching upon the progressive with its six and a half minute length, the song allows Alves’ emotional vocals to stand out, as he trades off with Hannah Neale (latter the brooding pre-chorus and former the sublime Psalm 23 influenced chorus), not to mention an cleanly placed bass line with a classical feel. Instrumentally, it shines as a run at the end features understated double bass with Eastern influenced guitars to lend a theatrical quality. Do I detect a faint hint of Symphony X?
No doubt, Dream Theater comes to mind on ten-minute progressive magnum opus “Evanescent”. At the risk of going into too much detail, but the song brings its share of maze like twists and turns, beginning with classically influenced instrumental runs to start and finish. In between, it segues from harshly spoken narration to guitars that gradually build into the mix only to alter between quieter moments to feature female vocals (including the ennobled chorus) and those of a more forward nature in which aggressive vocals return in assertive form. A mid-point instrumental passage spotlights albums best stretch of fast-paced lead guitar from Gabriel Neale.
“Home”, last of the lengthier progressive material at seven minutes, comes across in the form of an atmospheric ballad. As Hannah Neale and Alves vocally trade off, the song plods in dreamy fashion to piano and sluggish bass as flute and bagpipes make periodic appearance. Four and a half minutes in, trudging guitars step forward to build upon the eerie scene, with guitar feedback and church organ carrying things instrumentally.
Not part of the track listing but included as bonus track is instrumentally “Winter’s Dance” to feature airy keyboards and violin.
Lyrically, per the groups press material its ‘vision is to be a beacon of light in dark places’ with its ‘aim to give all the credit for any success to God as they believe He is the source of all things good’. This manifests on both “Uproot” -
As for me, I will call upon the name of my Lord
And my God will save me!
Battle will rage
And I hear the battle cry
Raging on into the night
I await the morning light
Uproot the enemy stronghold
Rooted in my heart
Shelter me under your wings
Until the day awaits
- and “Chariots Of Elysium”:
You rode out on your horses of war
And your chariots of salvation
You rode out in the name of justice
You came to judge the nations
Horses of war
Chariots of salvation
In the name of justice
To judge all creation
“On Eagle’s Wings” draws upon the groups Psalms inspiration -
Raise your hands to the sky for the battle is won
A victory cry, a new life has begun
Not by my own strength, by that of the Lord
Your’e my strong tower, my shield and my sword
You are my strong tower
My fortress in the night
You saved me from the gates of hell
And heard my desperate cries
- as does “Though A Thousand Fall”:
Save me Lord, raise me up
Await my soul, hide not Your face from me when I cry
Even though I walk through
The valley of the shadow of death
I shall fear no evil
In You I find refuge, my victory
I raise my sword for the fatal blow
Death of pride being my desire
To my old self I bid goodbye
As You cut to the root with holy fire
Whereas Ecthirion mirrors multiple influences and musical styles, what I hear is the joining of the melodic and extreme that is Divinefire mixed with the darker Gothic vestiges of Biogenesis but rounded out by Theocracy like epic progressiveness. Yes, this might only touch upon the manifold Ecthirion sound but also at the very least provides a within the ballpark idea of what it brings to the table. The group’s strength otherwise revolves around its varied but creative songwriting within such outlined musical framework, not to mention the multiple guest vocalists and musicians. Immaculate production and professional cover art and mini booklet help to round things out.
It can be problematic providing constructive commentary regarding an 85% graded album, but I would like to encourage Ecthirion to further expand upon its vocal basis on any future album it records to also include higher register front men along the lines of Lance King or Matt Smith (Theocracy). In similar fashion, the doom-ish lower register aptitude to Chaz Bond (Biogenesis) would be a perfect fit for the darker Ecthirion sound. I have never been a big fan of ‘extreme’ vocals, noting how they are tastefully used throughout Psalms Of The Risen Dead, so I would also like to encourage Ecthirion not to overuse them all the same- a continued fine balance between the clean and harsh would be the optimal scenario moving forward.
Review by Andrew Rockwell
Track Listing: “Uproot” (5:03), “Chariots Of Elysium” (4:41), “March Of The Risen Dead” (4:07), “Morality” (1:23), “Eagle’s Wings” (5:09), “Though A Thousand Fall” (6:31), “Evanescent” (9:52), “Home” (7:19), “Winter’s Dance” (3:26)
Musicians
Hannah Neale - Lead Vocals (tracks 1, 2, 5 - 8)
Gabriel Neale - Guitars & Bass
Additional Musicians
Celso Alves - Clean Vocals (tracks 1, 2, 5 - 8)
Dave Cooney - Harsh Vocals & Chants (tracks 2-5 & 7)
Eugen Dodenhoeft - Clean Vocals (tracks 5 & 7)
Kim Cook - Vocals (track 7)
Spencer Lee - Drums
Adam Walker - Drums (track 8)
Lydia Smith - Violin
Tom Owen - Violin
Jamie Dalton - Trombone & Sackbut
Andrea Dalton - Piano
Amy Coote - French Horn
Stacey Powers - Flute & Piccolo
