Éohum – Ealdfaeder

 

Eohum_RingMasterReview

In many ways taking over from where predecessor Revelations, Aurora of an Epoch left off, the Ealdfaeder EP is another compelling and fascinatingly invasive proposal from Canadian metallers Éohum. The release sees the Montreal based outfit continue to entwine traditionalist and cultural spirited sounds and explorations into a doom infused black metal devouring of the senses. Marked again by the suggestive majesty of French Horn, the latest release is another creative conception which ignites the imagination and backs up thoughts arising from the previous encounter that this is a band with very potent horizons ahead of them.

Formed in 2010 by guitarist Jeremy Perkins, Éohum (pronounced ee-o-um) has continued to hone their atmospheric infestation of ears and psyche whilst becoming a potent live proposition. Originally written as a literal, poetic project, the band and adventure only grew and evolved as Perkins brought in friends with metal seeded musical roots and backgrounds. The release of debut album Revelations, Aurora Of An Epoch in 2015 awoke ears and attention beyond their home shores, its dramatic character and voracious confrontation aided by guest contributions from the likes of Cryptopsy’s Matt McGachy and ex- Vinyl Hero Nick Wybo. Now it is the turn of Ealdfaeder to draw spotlights again the way of the band with one suspects, even greater success and acclaim in tow.

EOHUM-EALDFAEDER-EP_RingMasterReviewEaldfaeder opens with Eurocide and immediately has the imagination alive as resonating beats from drummer Luca Belviso unite with the suggestive hues of Annie Perreault’s flute. Thoughts of ancient civilisations and modern cultures arise to the simple but pungent lure as the EP begins its overall look at “… the loss of interest and connection between human cultures and the environment due to our greed filled, corrupt world of today.” In no time Perreault is surrounded by the more predacious riffs of Perkins and Sylvain Dumont as that initial rhythmic coaxing equally turns primal and intensive. Drama soaks the track even as it settles down somewhat, though it is still prone to explosive reactions within its intrigue guided prowl. The raw vocal squalls of Barrie Butler infest ears and atmosphere too whilst the resonation of Cesar Franco’s bass strings is as expressive as the flame of French horn laid within the maelstrom by again Perreault.

The track is bred of the same invention and imagination as the earlier album but already shows a fresh blend of classical beauty and pestilential temptation which carries on through the EP and Unmasking A World Of Deceit which follows. Even more ravenous and inhospitable, the track flies at the senses from its first insatiable breath, vocals and grooves harrying and fiercely engaging the listener as rhythms share a barrage of spiteful intensity and enthusiasm. It is a barbarous intrusion, black and death metal furies uniting within the heavily textured ambience as a hostility, led this time by the vicious creative swings of Simon McKay, assaults ears. As expected though, things only twist and evolve as again the mesmeric call of horns share the track’s atmospheric background.

Through the salacious character and nature of The Apathetic Plague and Ode To A Martyr, thoughts and emotions are seriously entangled and challenged for exhilarating experiences. The first also imaginatively merges unbridled brutality and unpredictable melodic resourcefulness within its blackened trespass of the senses whilst its successor is a torrential swarm of great swinish vocals from Butler matched in plague like concussive endeavour by the scourge of guitars aligned to Belviso and Franco’s rhythms. The second of the two tracks is glorious, the pinnacle of the EP and a hex on the body with its bracing collision of textures, contrasts, and sonic irritation. Once more the golden lure of horn from Perreault is just irresistible; Éohum’s merging of its never indulgent tones with voracious tempests more skilful and natural than ever, so much so that it seems like the horns rather than temper the storm actually encourage it.

Curative Undulations brings Ealdfaeder to an immense close; the track, as its predecessor, shaped and driven by McKay’s rhythms as it devours and seduces with creative and dramatic ingenuity. It immediately thrills and only impresses further across its inventive body and with every delving into its bold adventure. That success applies to Ealdfaeder as a whole too, the EP growing as it reveals new depths and craft with each listen.

Éohum has one of the most distinct and unique sounds in metal right now, only Floridian experimental death metallers Markradonn really exploring something remotely similar, and in Ealdfaeder they have unleashed a release which, whether it hits your sweet spot or not, will make a predominantly striking impact.

The Ealdfaeder EP is released March 18th via Mycelium Networks @ https://eohum.bandcamp.com/

https://www.facebook.com/pages/%C3%89ohum/821823887910583   https://twitter.com/eohum

Pete RingMaster 18/03/2016

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Éohum – Revelations, Aurora of An Epoch

 

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The debut album from Canadian metallers Éohum is a fascinating proposition which manages to startle and surprise whilst simultaneously ticking every box on a personal want list from any weave of music. It is as if they instinctively knew what turned us on and explored those elements with relish. It is fair to say that Revelations, Aurora of An Epoch will not find the same level of reaction from everyone but it is hard to imagine many not breeding some kind of appetite for it and the band’s creative adventure.

The Montreal based and 2010 formed, Éohum (pronounced ee-o-um) is the creation of guitarist/bassist Jeremy Perkins, a “traditionalist and spirit oriented” band embracing a black metal breeding with anthemic grooving and doom cultured atmospheres. Equally in songs inspired by poems written by Perkins on the current state of humanity, rich elements of death and progressive metal are woven though not quite as dramatically and excitingly as the almost exotic roars of French horn which also inflame the album’s earlier tracks. The band’s live line-up sees Perkins joined by guitarist Sylvain Dumont and Annie Perreault on French horn/trumpet as well as bassist James Heymans, drummer Simon Bambic-Mackay of The Agonist and vocalist Barrie Butler. For the album though, Perkins enlisted the help of friends alongside himself, Dumont and Perreault; guests which include vocally Matt McGachy of Cryptopsy and Nick Wybo (ex-Vinyl Hero) on drums. It all sounds a fluid and unpredictable canvas the band works from and certainly flows over into the music and character of Revelations, Aurora Of An Epoch.

The album surprises and fascinates from start to finish, increasing in stature and success with every listen as more of its depths are revealed. The opening Leaving Harbour is maybe not quite the same but only because once the sultry scenery around a vocal piece of scene setting prose narrated by Lana Edwards is absorbed and appreciated, the tendency in every subsequent listen is to cut to the chase which begins with the next track Rooted Deep Within. An eruption of battlefield mayhem hits the imagination first but is soon swallowed by the imposing muscular and portentous intensity of death spawned riffs and rhythms. That alone grips attention but with the heralding horns blown by the lips of Perreault, an epically honed atmosphere makes its suggestive intrigue known before the track explodes into a virulent pestilential charge of venomous grooves and scarring riffery. The tempestuous instrumental track is like a hellacious dawning, one of danger and excitement employing wrong-footing experimental twists and progressive ideation.

Eohum Revelations Album Cover copy   The piece simply grips and inflames the imagination, not to mention ears, before Equatorial Rains takes over with a more temperate climate and confrontation. A deliciously throaty and resonating bassline from Perkins seduces ears and appetite straight away, swiftly aided by the flames of brass from Perrault and the caustic enterprise sculpted by the guitars. The breaking blackened malevolence and uncompromising rabidity in gait and aggression brings further appetising flavours and textures to the ever moving volume of sound and invention, as does the ferocious and cleaner rasping tones of McGachy. It is a formidable and relentlessly eventful provocation feeding ears and emotions potently with those horns the icing on the emotive antagonistic cake.

     Defined Sacredness comes next, opening on a predatory prowl of rhythms and riffs, each almost more theatrical in their stance than vicious but only helping lure the listener into the waiting slightly demonic narrative of fierce corrosive sound and rage bleeding vocals. Stabs of brass and heavy sighs of horn colour the hostile persuasion further, their toxic hues as virulently alluring as the riveting presence of McGachy.

The album’s title track has body and thoughts enthralled from its first breath; a roar of French horn announcing the tempest to come like a war cry, casting a challenge to be met before the song swiftly begins savaging the senses with sheer malicious contagion and intensity. It is a call continuing through the superb track, those golden flames of the horns an inescapable web of seduction within the destructive and to be honest equally addictive torrent of scarring grooves, abrasing riffery, and merciless rhythms. Bracing and arousing, like an anthem bred in hell, the track is a hymn for the lost and bellow for the despoilers, and quite breath-taking.

In many ways this is where Revelations, Aurora of an Epoch goes in a different direction, or certainly a less provocatively adventurous one. Wiser Every Sunrise which features Phillip Rieder on vocals is a collusion of heavy, groove, and death metal with hardcore/punk belligerence. Strangely familiar for unsure reasons, the enjoyable track is a brawling and volatile slab of animosity but even though it has ears and satisfaction heartily contented it does not live up to the previous tracks, feeling slightly out of place alongside them, which also applies to a lesser degree to Thus Spewed Thy Infectious Reign, a death spawned ravaging with a doom fuelled gait guided by an unpredictable creative menace. As its predecessor, the song only leaves good thoughts, inspiring them to contemplate the end of days/humanity but also hankering for the glorious horns and imagination seeded swing of earlier tracks.

Closing on Give Us O’ Rain, another piece of prose sung by Lana Edwards, Revelations, Aurora of An Epoch provides one predominately unique and intoxicating introduction to a band you can only imagine getting bigger, creatively grander, and more impressive over time. As suggested it might not light everyone’s fire as ours but if the likes of Emperor, Dimmu Borgir, Trepalium, and We All Die (Laughing) for example spark your juices, then so will Éohum.

Revelations, Aurora of An Epoch is available now via Mycelium Networks @ https://eohum.bandcamp.com/album/revelations-aurora-of-an-epoch

https://www.facebook.com/pages/Éohum/821823887910583

RingMaster 09/04/2015

Copyright RingMaster: MyFreeCopyright

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