Stargazer Scholar
Numerous subgenres of Metal have been squeezed to the very last drop of their former originality—exhausted, recycled, and overdone. Weirdly enough, despite its obvious overpopulation problem, Atmospheric Black Metal is not one of those genres. Before you object, dear reader, think of all the outstanding and unique artists this movement has spawned. Consider the legendary dungeon synth escapades of the mighty Summoning and its glorious followers; recall the dreamy medieval charm of the mysterious Obsequiae; and remember the swelling soundscapes of Saor. Italy’s Eard remains a well-hidden but no less precious gem in this constellation of curiosities—a gem yearning to be discovered.
I eagerly anticipated the Italian duo’s sophomore record, as their confident debut left me in awe three years ago. Eard‘s claim to my affection pensively tingles with the strings of the Celtic harp. The harp is the first and the last instrument you’ll hear on Melancholia, ushering you in and bidding you farewell, cloaked in the gentle sounds of rain. From the outset, Glorya Lyr establishes herself as the chief soloist of the band, and the mix knows exactly what it’s doing by placing her harp so prominently. Hearing a slow, dreamy melody soar above a roiling blast beat is an otherworldly, hypnotizing experience—a genuinely refreshing move in an age dominated by synths.
This may not be a concept album, but it certainly feels like one. As if inspired by the strongest points of its predecessor, Melancholia seems to follow a musical storyline that imparts an organic flow to the whole piece. Like a change of seasons, like the diurnal cycle, the sequencing of the tracks takes you on a journey from penumbra to deeper darkness and back. The emotional intensity thickens with each song, venturing into previously unexplored regions. The beginning is intentionally restrained, and after an ephemeral intro, we gingerly step onto a solemn, Doomy path graced with clean female vocals and Black Metal shrieks. It might be described as a combination of Estatic Fear and Draconian, interspersed with atmospheric Black Metal outbursts. The melodies may not be the most inventive, but they work, and the song is further elevated by its dynamics as the harp continues its slow dirge over the raging thunderstorm of Metal provided by multi-instrumentalist MK.
And so the record unfolds, poignantly alive. Distant, echoing harsh vocals would have evoked Saor even without Andy Marshall’s involvement on the first track, while Déhà’s ghoulish wails lend a DSBM quality to the two pieces he guests on. A moody interlude in the middle of the album serves as a watershed, followed by a tragic tremolo riff of unexpected intensity. The mournfully triumphant choirs of the closer exude a Caladan Brood vibe. This is but a snapshot of the seamless diversity that Melancholia has to offer.
Eard’s second offering is an introspective, nocturnal affair that is simultaneously cozy and epic in a charmingly rainy way. While it took me a little longer to get into the first half of the record, I came to understand and love its reserved, fragile nature just as strongly as the glorious catharsis of its counterpart. It could be argued that Eard still has some work to do in upgrading the Doom Metal elements of its sound to match the level of the harp-driven and atmospheric Black Metal segments. However, this doesn’t make the outcome any less stellar. A creation this passionate and intricate deserves every ounce of attention you can give it. Don’t resist this sweet bout of Melancholia—it’s still not too late to revise your year-end list.
Label: Avantgarde Music
Release date: 29 November, 2024
Website: https://www.facebook.com/eardmusic
Country: Italy
Score: 4.0/5.0 (four beautiful stars that need to be noticed)
Metal Eclipse Reviews 