Aisling - Aisling
Demo Self Released 2001
By Russell Garwood
Aisling are an Italian pagan/black metal band taking inspiration from the Celtic spirituality. Their music, with religious themes, has symphonic black metal elements; the band has a full time keyboard player and guest musicians include flautist Chiara S., cellist Elisa F. and a mezzo-soprano, Michela P. The band consists of vocalist Diego M., lead guitarist Diego B., rhythm guitarist Paulo V., Stefano P. on bass and Alberto B. on keyboards, with all members contributing to backing vocals. The line-up on this latest, self-titled effort is completed by drummer Paulo M. This, their second demo to date, is extremely professional, and includes an impressive eight page printed booklet which does the artwork justice.
First track Through The Eyes Of Cosmos opens with minimalistic piano before becoming a full orchestral effort. Second song The Oracle Of Dehumanization provides a contrast with full-on drums, guitars and witch vocals, while retaining the epic feel. A relaxed acoustic ending leads into Sepulchral Council Of The Beholders, a harsher song with striking vocal layering of growls and singing. A piano section halfway through and the subsequent passage displays Ephel Duath similarities. Misanthropic Salvation has a catchy acoustic opening, leading into a busy composition which utilises Rakothesque spoken passages to good effect. Wind sound effects and acoustic plucking open Duan Amhairghine (Amergins Challenge) an instrumental which makes full use of the genuine flute and cello. The mezzo-soprano vox are enjoyable, accompanied by male, occasionally less tuneful singing. Sound effects end the song as it began. Crushing The Wall Of Time steps up the pace, intensity and volume: blasts, screeches and thrashing guitars dominate while a touch of melody remains. The finale Tir No Nog (Forgotten Rites) dramatically finishes the album in a whirlpool of synths, guitars, screams and drums followed by instrumentation.
The production displayed here is accomplished for a black metal demo, allowing the symphonic nature of much of the music to be clear and enjoyable. Overall, this is an impressive release and with some development I see no reason why Aisling shouldnt be up there with the best of the avant-garde black metal scene.
Demo Self Released 2001
By Russell Garwood
Aisling are an Italian pagan/black metal band taking inspiration from the Celtic spirituality. Their music, with religious themes, has symphonic black metal elements; the band has a full time keyboard player and guest musicians include flautist Chiara S., cellist Elisa F. and a mezzo-soprano, Michela P. The band consists of vocalist Diego M., lead guitarist Diego B., rhythm guitarist Paulo V., Stefano P. on bass and Alberto B. on keyboards, with all members contributing to backing vocals. The line-up on this latest, self-titled effort is completed by drummer Paulo M. This, their second demo to date, is extremely professional, and includes an impressive eight page printed booklet which does the artwork justice.
First track Through The Eyes Of Cosmos opens with minimalistic piano before becoming a full orchestral effort. Second song The Oracle Of Dehumanization provides a contrast with full-on drums, guitars and witch vocals, while retaining the epic feel. A relaxed acoustic ending leads into Sepulchral Council Of The Beholders, a harsher song with striking vocal layering of growls and singing. A piano section halfway through and the subsequent passage displays Ephel Duath similarities. Misanthropic Salvation has a catchy acoustic opening, leading into a busy composition which utilises Rakothesque spoken passages to good effect. Wind sound effects and acoustic plucking open Duan Amhairghine (Amergins Challenge) an instrumental which makes full use of the genuine flute and cello. The mezzo-soprano vox are enjoyable, accompanied by male, occasionally less tuneful singing. Sound effects end the song as it began. Crushing The Wall Of Time steps up the pace, intensity and volume: blasts, screeches and thrashing guitars dominate while a touch of melody remains. The finale Tir No Nog (Forgotten Rites) dramatically finishes the album in a whirlpool of synths, guitars, screams and drums followed by instrumentation.
The production displayed here is accomplished for a black metal demo, allowing the symphonic nature of much of the music to be clear and enjoyable. Overall, this is an impressive release and with some development I see no reason why Aisling shouldnt be up there with the best of the avant-garde black metal scene.
