Quoting my thoughts some years ago while inspecting a random recommendation from Metal-archives. “What the hell, I’ve never heard of Lykathea Aflame and their album (Elvenefris) has a 96/100 rating with almost 20 reviews :O! This must be some fine progressive death metal”.
Nope. Instead Lykathea Aflame must be the most overrated band no one’s ever heard of. Did that make sense? No? Good, neither does most of the Elvenefris. Don’t get me wrong, it has plenty of great musicianship and heavy-duty barrage, I can understand why some people like it. But mainly, it’s a huge mishmash.
Many riffs on Elvenefris sound to be played at random, halting another riff, spiritual melody, section, or whatnot suddenly. These halts are almost always paired with brutally fast drumming. After that there’s four different random riffs and two melodies until they return to the main theme. Many of these placeholder riffs are sure nimble, but sound uninspired and, well, dumb. Some might point out: “isn’t that what proper progressive music sounds at first?” Yes, yes it does sound like that at first, but not after ~10 listens and a couple of years.
Actually, forget my musings and the rest of the review. Go rather read the 2nd and 3rd paragraphs of Lord_genghis review from Metal-archives, after finishing the review I found out he put everything I meant to say down a lot better than I could: http://www.metal-archives.com/reviews/Lykathea_Aflame/Elvenefris/7208/lord_ghengis/89436.
It does not help that growled vocals are just ok. They are supposed to remind of Lord Worm of Cryptopsy but to me Lord Worm has variety, craziness and ability to really engage into it when Ptoe of Lykathea Aflame just grunts away. Clean vocals are at best tolerable, spoken word sounds about as good as recording them yourself.
The beginning of the first track, Land Where Sympathy Is Air is a good example of what’s wrong. Technical riffing with quite typical but rather strong western “ethnic” melody, sudden riff change, continuation. At about 50 seconds it turns to a cut and paste mishmash constantly visited by the same annoyingly jumpy riff that first appeared at 22 seconds. These kind of technical short riff bursts that scale to higher notes, and on highest peak repeat from the start are present on Elvenefris all the time. Judging by the good ratings Elvenefris has gotten, it seems it appeals certain people. But the appalling 1.38 casio bagpipe melodies cannot be excused, and it’s not the only occurence.
Sadness and Strength has the strongest individual moment, with the best melody of the album leading to a fine, albeit a bit comical, outro. The leading melody resembles some ethnic pipe instrument(?) and sounds a tad like something children’s music band like the Finnish Fröbelin Palikat might write for their more serious tracks. Before that there’s some tight playing and a really, really bad starting riff. A Step Closer has nearly none of the annoying elements and An Old Man and a Child has more memorable than frustrating bits. But there’s nothing that really makes me want to tune them in again.
The crown jewel of the album is the 11 minute b-movie cinematic outro Walking in the Garden of Ma’at with fucking birds chirping all over the place ALL-THE-TIME. It would be atmospheric if the sounds didn’t remind me too much of Intel four-eighty-six processors.
4/10
As proficient as the guys in Persefone are with their instruments, Spiritual Migration, released in 2013, suffers from swelling. It has an incredible amount of content which can only be described as “stuff”. Ranging from 6(!) instrumentals to about 1 000 000 extra notes. I enjoy extra notes as much as anyone and there’s a lot to like in the details, but compositions should have more to say.
Like Music To Your Ears 