http://www.metalteamuk.net/sep09reviews/cdreviews-devar.htm
[FONT=Verdana, Arial, Helvetica, sans-serif][SIZE=-1][FONT=Verdana, Arial, Helvetica, sans-serif][SIZE=-1]When Vera Lynn reappeared in the charts 55 years after her last number one, Im quite sure shed have noticed a few changes. Back then in 1954, Elvis was just embarking his musical career, while today the world mourns the loss of what you could call the Elvis of our generation. Had any artist pranced around half-nude like a Pussycat Troll back then, thered have been a public outcry but dear me, what would the black & white world of yore seriously have made of black metal, had they been introduced? [/SIZE][/FONT][/SIZE][/FONT] [FONT=Verdana, Arial, Helvetica, sans-serif][SIZE=-1][FONT=Verdana, Arial, Helvetica, sans-serif][SIZE=-1]When I first heard Devar described to me as 1950s black metal my first facetious response was did they really have BM back in the 50s? Now, in all honesty I dont see where the whole 50s part comes into it, but having already sparked my attention I found this to be just as intriguing a listen as I had anticipated. The Siren opens things nicely and instantly projects something of a maudlin vibe as well as a kind of warmth that welcomes you in with open arms, before NMN comes storming in with a contrasting blackness. Theres something about the vocals on this track that I am just not certain about although this seems to fall into place when we reach the next track, the rather lush Cold Slither which really does slither along with its sinuous melodies, taking one into the darkness and a rather reflective state, however, this sounds quite the opposite of cold. Generally speaking I find this album to be rather a warm one, full of rich and sonorous melodies. Shadow Feline is a fine example of such, with a magnificent chorus that really stirs up some emotion with its moody disposition, while this is suddenly usurped by the intense racket of drums and harsh riffs that project a kind of blackness that is bordering on the epic. [/SIZE][/FONT][/SIZE][/FONT]
[FONT=Verdana, Arial, Helvetica, sans-serif][SIZE=-1][FONT=Verdana, Arial, Helvetica, sans-serif][SIZE=-1]Theres a bit of an avant-garde feel to Scourger with its twangy guitars and a lullaby-esque vocal line while The Dirge has a similar feel and is really mellow. I get a sense of other-worldliness with this one and I cant help but feel theres a certain Bowie influence behind it that is more 70s than 50s! The blacknroll vibe to Of My Dead Skull has a real stoutness to it while the Caribbean-style steel drum beats are a nice touch. [/SIZE][/FONT][/SIZE][/FONT]
[FONT=Verdana, Arial, Helvetica, sans-serif][SIZE=-1][FONT=Verdana, Arial, Helvetica, sans-serif][SIZE=-1]Vocally you get a sense of desperation here as clean singing is delivered with a grainy edge that adds warmth and emotion and in places sounds like he is on the verge of tears. With an uplifting chorus, Watch Them Fly really lets the spirit soar before dropping into the far more sinister sounding In Sanity which envelops me with its darkness that subsequently brings the album to a close. It took a couple of listens to really get into this, but once it clicked, well lets just say I get the feeling this wont be the last time it gets a place in my stereo. This is the kind of album to suit mellow moods when youd rather hear soothing sounds as opposed to something full-on heavy; for relaxing at the end of a long day, or perhaps as youre easing off that Sunday morning hangover.
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