Poema Arcanvs Iconoclast
Aftermath music 2002
By Russell Garwood
Formed in Chile in 1992, Poema Arcanvs recorded two demos and a live EP before their debut Arcane XIII was released through Picoroco Records. This caught the eye of Norways Aftermath Music, over which their second album, Iconoclast, was released on May 15th. Poema Arcanvs music is most closely related to doom, but a single label doesnt do the band justice. The vocals, courtesy of Claudio Carrasco, are predominantly sung with some growled sections, while Luis Moyas drumming is just what the mid-paced music requires. The intense and melodic guitar, performed by Igor Leiva, is largely chord-based (being both electric and acoustic) with the odd riff here and there. Bass duties are handled well by Claudio Botarro, while variation and atmosphere is added by the keyboards and piano of Michel Leroy. An epic feel is maintained throughout, supported by the various keyboard sounds and sporadic higher vocal sections.
Intro, Walls? contains only quiet piano, and the heavy introduction of The Crawling Mirrors can come as a surprise. This is reduced, however, to acoustic guitar for a short section, before returning to metal. The alternating sections continue throughout the progressive song with eerie keyboards and harsh drums towards the end. Next comes Elegia, a more considered song which, like the last, meanders its way through numerous character changes. Track 4, Chaman, is a more upbeat proposition, consisting of strummed acoustic guitar, some catchy keyboard and drum combinations with occasional very low vox. Elixir introduces a carnival feel with some playful violins and almost operatic vocals, before reverting to the heavy template. Title track Iconoclast is one of the heaviest on the album, opening with some guttural death and then witch vocals. This too, however, has its quieter, atmospheric moments, fading into She Burns Us, a song with a very good, spaced-out guitar intro and ambient, quiet refrains throughout. Rite is another Jekyll and Hyde composition and is followed by an altogether more consistent standout Distances. Impression offers more of the same and Disintegracion[sic] offers some impressive singing. Unplugged track Burnt is a nice relaxing interlude consisting of only acoustic guitar and vocals, while And Thou Shall Obey, as the title suggests, cranks up the volume, ending the album well.
Altogether Iconoclast is a solid effort; while Claudios vocals are generally spot on, sometimes he hits wrong notes that can detract from the music. They have a rawness, however, which suits the backing perfectly. Diverse as this album is, sometimes more variation would be welcome and help it avoid feeling samey (which happens occasionally). These are minor complaints, however, and overall Iconoclast is a very good, original, album that would be welcome in any melodic/progressive metal fans collection.
Aftermath music 2002
By Russell Garwood
Formed in Chile in 1992, Poema Arcanvs recorded two demos and a live EP before their debut Arcane XIII was released through Picoroco Records. This caught the eye of Norways Aftermath Music, over which their second album, Iconoclast, was released on May 15th. Poema Arcanvs music is most closely related to doom, but a single label doesnt do the band justice. The vocals, courtesy of Claudio Carrasco, are predominantly sung with some growled sections, while Luis Moyas drumming is just what the mid-paced music requires. The intense and melodic guitar, performed by Igor Leiva, is largely chord-based (being both electric and acoustic) with the odd riff here and there. Bass duties are handled well by Claudio Botarro, while variation and atmosphere is added by the keyboards and piano of Michel Leroy. An epic feel is maintained throughout, supported by the various keyboard sounds and sporadic higher vocal sections.
Intro, Walls? contains only quiet piano, and the heavy introduction of The Crawling Mirrors can come as a surprise. This is reduced, however, to acoustic guitar for a short section, before returning to metal. The alternating sections continue throughout the progressive song with eerie keyboards and harsh drums towards the end. Next comes Elegia, a more considered song which, like the last, meanders its way through numerous character changes. Track 4, Chaman, is a more upbeat proposition, consisting of strummed acoustic guitar, some catchy keyboard and drum combinations with occasional very low vox. Elixir introduces a carnival feel with some playful violins and almost operatic vocals, before reverting to the heavy template. Title track Iconoclast is one of the heaviest on the album, opening with some guttural death and then witch vocals. This too, however, has its quieter, atmospheric moments, fading into She Burns Us, a song with a very good, spaced-out guitar intro and ambient, quiet refrains throughout. Rite is another Jekyll and Hyde composition and is followed by an altogether more consistent standout Distances. Impression offers more of the same and Disintegracion[sic] offers some impressive singing. Unplugged track Burnt is a nice relaxing interlude consisting of only acoustic guitar and vocals, while And Thou Shall Obey, as the title suggests, cranks up the volume, ending the album well.
Altogether Iconoclast is a solid effort; while Claudios vocals are generally spot on, sometimes he hits wrong notes that can detract from the music. They have a rawness, however, which suits the backing perfectly. Diverse as this album is, sometimes more variation would be welcome and help it avoid feeling samey (which happens occasionally). These are minor complaints, however, and overall Iconoclast is a very good, original, album that would be welcome in any melodic/progressive metal fans collection.
