Leafblade - The Kiss Of Spirit And Flesh
It's been quite some time since Leafblade released their debut album (not counting the compilation 'To The Moonlight') - seven years in fact - which has built up some heavy anticipation for this, their sophomore effort. Casual fans will no doubt be alerted to the fact that Danny Cavanagh and Daniel Cardoso of Anathema fame appear on this CD. However, this is Sean Jude's baby and, along with Kevin Murphy (both ex-Valle Crusis), they are the true heart of this band. That's not to diminish the two Daniels in any way; their playing is subtle and appropriate and, along with the music itself, a thing of beauty.
I've had the pleasure of seeing Leafblade on a few occasions now (always as the duo of Sean and Kevin), and it was exciting to hear a couple of songs I'm used to hearing stripped-back live given the full band treatment. The essence of each song is the same - bolstered by Sean's poetic view to lyricism - but dynamically they are different creatures. Daniel Cavanagh's production skills really are taking shape, and he has become quite adept at allowing the music to breathe; the essential ebbs and flows. One thing that should be noted, since the release of 'Beyond, Beyond' back in 2006, is how the songs have developed from mostly, admittedly haunting, Celtic-folk to a combination of that style blended with rock bombast and dynamism. Some may see this as a return to the roots of Valle Crusis, but the tone and feel is far less foreboding, and far more uplifting than that. While billed as a progressive album, it may be tempting to mistake that for aping the classics of the seventies. And, while this does share the same love of vocal harmonies, swelling guitar melodies, and a sense that there is a greater thematic link (bordering on concept), this is progressive in the sense that it is quietly pushing modern song-writing into otherwise undiscovered waters. K-Scope too should be applauded for continuing to support forward-thinking musicians, striving to challenge listeners' perceptions; breaking down barriers between disparate musical genres. It's a truly exciting time to be a music fan, and Leafblade have joined the very best bands (Anathema, North Atlantic Oscillation, Ulver et al) in giving us music that will transcend age; becoming timeless.
Score - 9/10
Thrawsunblat - Wanderer on the Continent of Saplings
Thrawsunblat, a self-proclaimed 'Atlantic-Canadian' band, released a very memorable debut album in 2010 called, rather helpfully, 'Canada 2010'. I won't go too much into that release here, as it will be reviewed, retrospectively, on this site soon. However, it was noticeable, songs aside, for featuring David Gold on drums. In fact Joel Violette, who's the project mastermind here, became a full-time member of Woods of Ypres. Sadly, David Gold passed away in late-2011, effectively ending Woods. Such tragic circumstances resulted in Thrawsunblat coming back to the fore with the announcement of their sophomore offering, which we have for review here; 'Wanderer on the Continent of Saplings'. Rae Amitay, another ex-Woods member, takes the drum stool; and does a fine job of weaving blasts to traditional metal beats, to folksier rhythms. And it is the blending of these styles that makes 'Wanderer...' a fascinating listen. In fact two songs in particular rely solely on shanty/folk styling; 'Goose River (Mourners' March)' and 'Maritime Shores'. While they are unlikely to get a spot at the Cambridge Folk Festival any time soon, Joel does a neat maritime-drawl, which should gain sage-like nods from bearded pipe-smokers the world over. However, I digress; this is a metal album at its core, and is cast in the die of progressive post-black metal (for you genre fans). Vocally it's satisfying to hear an even mix of growling rasps and clean singing outside of the usual metalcore setting. Lyrically, there is a loose concept embraced throughout the album concerning, to my ears, our personal identity in the world; the heartache of coping with death; and the reflections on nature and our removal from a way of life conjoined with it. Perhaps I'm way off though. Musically, the guitar playing too is nicely executed. Imaginative and layered in its rhythms, there are plenty of tasteful harmonies too snaking through each composition. The production is beautifully crisp, and a fine job has been made of the mastering (something I was worried about, having seen a screen-shot of the wav files recently). Happily, there are no clips or distortions through my headphones, which is a mean feat these days. Despite the black metal DNA running through their veins though, it's never apparent that you're listening to a black metal album. It's certainly extreme in places, and there are tremolo-picked passages that evoke a blackened feel, but the majority of the time is spent in the company of melodic brutality. Thrawsunblat should be applauded for not falling foul of the troublesome second-album syndrome.
Score: 8.5/10
