Rakoth Planeshift
Elitist June 17th 2002
By Russell Garwood
Rakoth are another avant-garde metal band (coincidentally also previously signed to code666) re-releasing their debut under the Elitist label. Planeshift, now with new artwork and in digipack format, has been re-mastered courtesy of Tim Turan for a release date of June 17th. Playing Tolkien-inspired, folk-influenced experimental black metal, the band consists of Rustam (keyboards and programming), P. Noir (vocals and flute) and guitarist Dy. The music is intricate, melodic and dark, with an abundance of flute and instrumentation, while the vox range from the black metal screech through singing and whispering to emotional readings. A mediaeval tinge adds further diversity to the material, making for an original sound, and the heavier sections are separated by quieter passages.
Planeshift opens with the atmospheric, wailing flute and guitar of Planeshift/Introduction which leads into the piano and string introduction of Fear (Wasnt In The Design). This soon morphs into a melodic but heavy guitar and then a jumpy flute section with clean vox. Coming in quick succession are screeched and spoken parts and the song continues to meander its way through time and character changes. Track three, Noldor Exodus is a catchy, tranquil instrumental with just flute and keyboards, after which the acoustic intro of The Dark Of Urknil seems fitting. Spoken passages are again used to good effect before distorted guitars kick in, and the flute remains present throughout.
The vaguely Emperorish beginning to Og Elend shows one of this bands few possible influences and the song remains mid-paced, adding a welcome contrast. Planeshift ups the pace to a frantic level, with some excellent piano work scattered above the mechanical blast beats and busy guitars. This is broken up by a slower instrumental passage before ending the song as it began. Gorthaur Aulendil starts with acoustic guitar and piano before progressing into the main body of the song, which alternates between loud and quiet phrases. The display of clean vocals is impressive, helping make this a truly memorable song. Next comes Mountain God which develops the epic feel present on much of Planeshift while the instrumentation adds a tense mood.
Penultimate track The Unquiet Grave adds nothing new to what has gone before, but is an interesting listen, and at over eight minutes is one of the longest tracks on the album. Outro, consisting of violin, guitar and flute, ends the album with a sense of unease.
The programmed drums can be very similar to those of Ephel Duath, sometimes sounding inorganic and it occasionally feels as if there is a loss of direction. Such flaws are rare in Planeshift, and overall it is a competently-performed, well-written and majestic collection of expansive songs. The production is very clear and well balanced, highlighting every part of the multi-textural music. As with much avant-garde metal this is never predictable, twisting and turning through intricate compositions, but at the same time is a lot more accessible than such releases tend to be. While not all black metal fans will appreciate Rakoth, any fans of complex, multifaceted, beautiful music should own this.
Elitist June 17th 2002
By Russell Garwood
Rakoth are another avant-garde metal band (coincidentally also previously signed to code666) re-releasing their debut under the Elitist label. Planeshift, now with new artwork and in digipack format, has been re-mastered courtesy of Tim Turan for a release date of June 17th. Playing Tolkien-inspired, folk-influenced experimental black metal, the band consists of Rustam (keyboards and programming), P. Noir (vocals and flute) and guitarist Dy. The music is intricate, melodic and dark, with an abundance of flute and instrumentation, while the vox range from the black metal screech through singing and whispering to emotional readings. A mediaeval tinge adds further diversity to the material, making for an original sound, and the heavier sections are separated by quieter passages.
Planeshift opens with the atmospheric, wailing flute and guitar of Planeshift/Introduction which leads into the piano and string introduction of Fear (Wasnt In The Design). This soon morphs into a melodic but heavy guitar and then a jumpy flute section with clean vox. Coming in quick succession are screeched and spoken parts and the song continues to meander its way through time and character changes. Track three, Noldor Exodus is a catchy, tranquil instrumental with just flute and keyboards, after which the acoustic intro of The Dark Of Urknil seems fitting. Spoken passages are again used to good effect before distorted guitars kick in, and the flute remains present throughout.
The vaguely Emperorish beginning to Og Elend shows one of this bands few possible influences and the song remains mid-paced, adding a welcome contrast. Planeshift ups the pace to a frantic level, with some excellent piano work scattered above the mechanical blast beats and busy guitars. This is broken up by a slower instrumental passage before ending the song as it began. Gorthaur Aulendil starts with acoustic guitar and piano before progressing into the main body of the song, which alternates between loud and quiet phrases. The display of clean vocals is impressive, helping make this a truly memorable song. Next comes Mountain God which develops the epic feel present on much of Planeshift while the instrumentation adds a tense mood.
Penultimate track The Unquiet Grave adds nothing new to what has gone before, but is an interesting listen, and at over eight minutes is one of the longest tracks on the album. Outro, consisting of violin, guitar and flute, ends the album with a sense of unease.
The programmed drums can be very similar to those of Ephel Duath, sometimes sounding inorganic and it occasionally feels as if there is a loss of direction. Such flaws are rare in Planeshift, and overall it is a competently-performed, well-written and majestic collection of expansive songs. The production is very clear and well balanced, highlighting every part of the multi-textural music. As with much avant-garde metal this is never predictable, twisting and turning through intricate compositions, but at the same time is a lot more accessible than such releases tend to be. While not all black metal fans will appreciate Rakoth, any fans of complex, multifaceted, beautiful music should own this.
