Orkrist Reginae Mysterium
KRV Records April 27th 2002 KRV001
By Russell Garwood
Orkrist were formed in June 2000 by vocalist Peter Crom Gaal (who also plays the keyboards) after his departure from Mean Geimhridh and Sine Nomine. Formed as a vehicle to realise his own musical ideas, Croms other band members include guitarist Khayo, vocalist Lydia (ex-Crusader), bassist Kabi (ex-Sine) and drummer Pyros of Mistward fame. Croms musical visions, it conspires, are heavily influenced by bands like Therion, Cradle Of Filth and Theatre Of Tragedy; Orkrist play gothic/symphonic (black) metal with occasional doom and medieval touches. The music, as you would expect, is highly melodic, and while commercialised is catchy and well written. Varied instrumentation holds your attention, the beauty and the beast vox add further diversity. Sporadic acoustic sections, as well as the bands logo, show Opeth similarities.
Opening instrumental Apron LegioDiabolica consists of bells, choirs, harpsichord, violins, synths, brass and percussion, the memorable melody having a distinct medieval feel. The opening trumpets of Nocturnal Rite lead into some typically gothic guitar and then both witch and clean vocals, the constant keyboards in the background adding more textures than is often found in such music. Orkrist has sound effects for the first time - the short interlude leading into The Ancient War Spirit. With flute slightly reminiscent of Enid and Rakoth, the slow intro is followed by a faster song with numerous time changes, adept guitar work and a progressive feel.
Sword And Sorcery has the best female vox on the album with romantic melodies supported by flute, harpsichord and percussion in the less progressively structured effort. Euthymia has an excellent question and answer section between keyboards and guitar, leading into another metal-orientated song with a notable lack of vocals. In Justice The Beauty, marching drums progress into one of the slowest songs on the album, and Desire In The Grace Of Night features slightly less instrumentation and a faster tempo. Title track Reginae Mysterium is another instrumental interlude which is followed by the epic Mourning Of A Rose. The rather unimaginatively titled Epilogue is a Cradle Of Filth-inspired instrumental which closes the album well.
Mastered by Alex Azzal, the sound quality and production on Reginae Mysterium is excellent, as is much commercial symphonic black metal. Some may consider this album over-produced, but this is down to personal taste, and I believe music such as this requires a polished sound. While unoriginal, the band perform well. The song-writing is accomplished with a diversity that is slightly more unusual than their chosen style. In an almost saturated field, Orkrist are pushing few boundaries, but for fans of melodic or medieval metal this would be a welcome addition to their collection.
KRV Records April 27th 2002 KRV001
By Russell Garwood
Orkrist were formed in June 2000 by vocalist Peter Crom Gaal (who also plays the keyboards) after his departure from Mean Geimhridh and Sine Nomine. Formed as a vehicle to realise his own musical ideas, Croms other band members include guitarist Khayo, vocalist Lydia (ex-Crusader), bassist Kabi (ex-Sine) and drummer Pyros of Mistward fame. Croms musical visions, it conspires, are heavily influenced by bands like Therion, Cradle Of Filth and Theatre Of Tragedy; Orkrist play gothic/symphonic (black) metal with occasional doom and medieval touches. The music, as you would expect, is highly melodic, and while commercialised is catchy and well written. Varied instrumentation holds your attention, the beauty and the beast vox add further diversity. Sporadic acoustic sections, as well as the bands logo, show Opeth similarities.
Opening instrumental Apron LegioDiabolica consists of bells, choirs, harpsichord, violins, synths, brass and percussion, the memorable melody having a distinct medieval feel. The opening trumpets of Nocturnal Rite lead into some typically gothic guitar and then both witch and clean vocals, the constant keyboards in the background adding more textures than is often found in such music. Orkrist has sound effects for the first time - the short interlude leading into The Ancient War Spirit. With flute slightly reminiscent of Enid and Rakoth, the slow intro is followed by a faster song with numerous time changes, adept guitar work and a progressive feel.
Sword And Sorcery has the best female vox on the album with romantic melodies supported by flute, harpsichord and percussion in the less progressively structured effort. Euthymia has an excellent question and answer section between keyboards and guitar, leading into another metal-orientated song with a notable lack of vocals. In Justice The Beauty, marching drums progress into one of the slowest songs on the album, and Desire In The Grace Of Night features slightly less instrumentation and a faster tempo. Title track Reginae Mysterium is another instrumental interlude which is followed by the epic Mourning Of A Rose. The rather unimaginatively titled Epilogue is a Cradle Of Filth-inspired instrumental which closes the album well.
Mastered by Alex Azzal, the sound quality and production on Reginae Mysterium is excellent, as is much commercial symphonic black metal. Some may consider this album over-produced, but this is down to personal taste, and I believe music such as this requires a polished sound. While unoriginal, the band perform well. The song-writing is accomplished with a diversity that is slightly more unusual than their chosen style. In an almost saturated field, Orkrist are pushing few boundaries, but for fans of melodic or medieval metal this would be a welcome addition to their collection.
