4.5
superb by Jom STAFF (49 Reviews)
2008-01-26 | 4 comments | 21 views
Summary: Progressive, symphonic metal with a twinge of power metal. Think Kamelot meets Arcturus or Symphony X meets Opeth - worthwhile to check out while waiting for the new Opeth, In Flames, Children of Bodom, etc. album to drop.
Most metal fans will attest to the notion that the city of Gothenburg is the coolest damn city in all of Scandinavia. Some metalheads may even go as far as to proclaim that Gothenburg is the coolest damn city in all of Europe. And then there are some metalheads who will say that Gothenburg is the most important city in the entire world; you'll find them institutionalized. The point is, most symphonic metal acts, as well as melodic death artists, are synonymous with Scandinavia. Obviously, there are exceptions to this rule, and Canada's Gates of Winter would fit within this minority. Unsigned and based out of Sault Ste Marie, Ontario, Gates of Winter perform in a smörgåsbord (to continue the Scandinavian-themed introduction, pardon me) of genres and are quite obviously influenced by avant-garde, symphonic, and power metal. At the Gates of Winter smörgåsbord, listeners will see some helpings of Arcturus, Kamelot, Symphony X, Autumn Tears, Wintersun, Therion, and Ulver, but more importantly, listeners will discover a unique, sublime, and impressive sound as well. While Lux Aeterna does suffer a bit of an identity crisis - the album doesn't know what it wants to be (straight symphonic metal, then straight power metal, then straight symphonic metal with power metal-themed lyrics, then...) which makes for an inconsistent listen - but the inspired, prolific songwriting, complete with breathtaking keyboard and orchestral arrangements, one hell of a bassist in Steve Furgiuele, and shred-tastic guitars, makes this record an excellent listen.
One of the most surprising - and stunning - qualities that Lux Aeterna exhibits is its sterling production. Magnificent and immensely captivating, each element that comprises Gates of Winter is heard distinctly - an astonishing feat for an unsigned act. Bassist Steve Furgiuele, who dons a six-string bass on the record, delivers eminently powerful lines that are never lost in the mix or ever go unheard. Right from album opener Life Force Rapture, Furgiuele is a beast of a musician who explores a variety of techniques, most notably tapping, with remarkable precision and skill. His best work may be heard in Gates of Winter; his crystal-clear tone and unique writing style cement him as one of the most talented bassists in North America. The omnipresent keyboards and orchestral arrangements are stunning, frequently taking the lead to carry the track or slipping underneath the guitars and Lee Maines's vocals in undeviating support. Brian Holmes is an amazing keyboardist, diversifying his performances to a spectacular degree. Effortlessly moving from a celestial, astral resonance (which brings to mind Arcturus) to an elegiac, requiem-like sound (think Autumn Tears), Holmes is masterful behind his keys. Session musician Jon Harvey fills in exceptionally well behind the kit; both feet get quite a workout with his copious incorporation of double bass kicks, and his precision on the floortoms, snare, and cymbals is highly noteworthy. Together, Furgiuele and Holmes are Gates of Winter's spine, with Harvey's steadfast support lending a hand in supporting the band's majestic sound as well.
As a vocalist, Maines offers both harsh and clean vocals, with the latter being stronger. Reminiscent of Garm and Vortex (a la Ulver, Arcturus) as well as Iced Earth's Matt Barlow and Opeth's Mikael Åkerfeldt, Maines is obviously influenced by many great metal vocalists, but it a testament to his talent that he can stand out on his own and forge his own vocal identity, as opposed to listeners experiencing an I've-heard-this-before feeling. His range is not as dynamic - and certainly not as operatic - as the aforementioned vocalists, and his guttural vocals aren't consistently authoritative throughout the album. However, Maines has unmistakable command of his clean and whispered vocals, and this air of confidence adds to the band's overall sound. Also serving as Gates of Winter's rhythm guitarist, Maines is responsible for the chugga-chugga aspect of the band's guitar sound, alongside lead guitarist Bryan Belleau.
Lyrically, Maines seems most influenced by typically-theatrical power metal lyrics. Latin for 'Eternal Light,' it should come to no surprise that the themes found in Lux Aeterna have the subtlety of a dump truck. Oftentimes invoking the Heavens, pariahs, kingdoms, and flames - and not necessarily in that order - Maines does have a couple clunkers in his lyrical arsenal (see: "The stars of Heaven have come to guide me / The stars are crying and now I am free," as heard in Star Force Rapture, and "I am the bringer of hate . . . Succumb to the evils inside; I've run and can no longer hide / Here I now stand on my own, never to stay, I push you away," taken from From the Flesh), but on the whole, he has a number of intriguing writing ideas and can write some ingenious, memorable material. For example, The Wildwood Pariah tells the story of a child wandering into the woods to meet, guess who, the Wildwood Pariah. Vocally, Maines takes on both roles, Pariah and child, with ease, and there is no confusion as to which character he's playing. The track itself, complemented with soft, somber guitars, won't win any Shakespearean awards for literary genius, but the mini-play is nevertheless an album highlight, as is his performance in Winter Flight and the album opener.
The Burning Kingdom mini-epic is decisively sensational and without question Lux Aeterna's highlight. Broken into three parts, with the final third being an instrumental number, the Burning Kingdom trilogy starts off on an aggressive note with I: A Dark Affliction. The track's opening verse, which centers around a "broken phantasm" with "wings [made] of ashes and flame" and "eyes [with] a fury of cosmic beauty," gives way to Maines and guest vocalist Jody Lynn Bedard branching off into a duet. Bedard's vocals are beautiful, especially in the bridge, where she croons, "Come with me, my child, through the gates of my burning kingdom / Take my hand, my power, to live without His grace forever." I: A Dark Affliction's most memorable passage, however, comes in a final mantra: "As we descended into the abyss never ending [and] into the twilight of the nadir of hell / A tendril of light did escape my heart, and I knew then that I, too, had fell." The imagery utilized by Maines in the first third of the Burning Kingdom mini-epic illustrates the vocalist at his creative best; immediately after, Part I segues into II: Heavenly Insurgence, which sees Maines assume the perspective of a fallen archangel who encounters "the demon king" in the mini-epic. Instrumentally, Gates of Winter are absolutely brilliant and are firing on all cylinders: from Belleau's searing guitar solos to Furgiuele's awesome runs (especially in III: Lux Aeterna) to the towering keyboards and synth orchestral accompaniments, the mini-epic should most definitely be considered for listening.
Lux Aeterna is a wondrous listen from start to finish, with magnificent songwriting and killer instrumentation to boot. Yes, the album has its faults, specifically the identity crisis issue mentioned previously. However, as Gates of Winter continue to grow and get more years under their belt - the average age of Maines, Belleau, Furgiuele, and Holmes is a ripe ol' 23 - it's presumed that they will figure it out in due time. For an unsigned act, the album's production is mesmerizing. Each instrument - from the rhythm section to the keyboards to the guitars and vocals - is heard with absolute clarity. Lyrically and vocally, Maines is well above-average, having frequent bouts of clever, creative ingenuity to offset his somewhat-sophomoric writing in a couple tracks. Furgiuele is an absolute monster with his bass, and Holmes's keyboards and synthesized orchestral arrangements drive the core Gates of Winter sound.
Bottom line to you metal fans: while you're sitting around waiting for the new Opeth, In Flames, Children of Bodom, etc. album, or wanting something new to complement your Kamelot/Symphony X/Dark Tranquillity/Arcturus/etc. discographies, you would do well in considering Gates of Winter's Lux Aeterna.
A-
Jom recommends:
The Burning Kingdom trilogy/mini-epic
Gates of Winter
Winter Flight
The Wildwood Pariah
