Auberon - Crossworld (2001)

The titular intro track to Auberon's sophomore outing Crossworld was a little bit off putting...a chugging, boring, simplistic riff glazed in mystical, spacey synthesizers and with the vocalist piling on a bit of distorted, spoken word narrative. From the onset it seemed that the fantasy-tinged melodeath of their debut had gone off into outer space, and the band was aesthetically pairing that up with a more tangibly 'modern', chugressive style. However, once "Vanities Fall" explodes forth with its little nod to "Carmina Burana", it becomes clear that they're still performing within the same wheelhouse as A Tale of Black..., only with a futuristic spin on it that might have been more thematically engaging for them than just repeating what they had already released three years earlier.

I'd liken this to At the Gates, Darkane or Soilwork if it were infested with the sorts of chords and octave patterns that thrashers like Testament and Vicious Rumors used a lot on their later 80s and early 90s material. It's quite a cool match with the Lindberg-like snarls and punishing riffs that kick off cuts like "The Beast Within", one of the best songs here which perfectly executes what they are going for. They still implement the cleaner vocals to contrast against the savage rasping, but even there you get a slightly more affected, post-modern vibe. Truth to be told, I thought the aggressive vocals on this were actually much better than the debut...they seem better welded to these slightly less complex riffing patterns, to the point that you can make out more of their tortured imperfections and that enables them with a lot more staying power. The album also goes for bigger, simpler, rocking rhythms that are checks in the bank for an audience interested in banging heads and bodies against one another. The drums are thundering, especially on the low end, and the album possesses an almost tireless energy about it which reminded me a lot of 'go for the throat' entries to this subgenre like Soilwork's Steelbath Suicide, Darkane's Rusted Angel or Sins of Omission's Flesh On Your Bones.

Considering when this album actually dropped, and that level of intensity they pull off, I was really surprised that this one didn't take in a much larger audience, but I think like a lot of the second or third tier Black Mark releases it lacked any amount of perceivable promotion. There are also a few issues I had with the production...for all the sleeker, bruising aesthetics it was intended for, some of the guitars seem a little too boxy and uneven, and the mix levels have actually given me more than one headache throughout the years. Not a deal breaker when you're searching for something to scratch this specific itch, or spent the six years before this blaring Slaughter of the Soul to all your DM-curious nu metal and metalcore friends, but I felt that A Tale of Black..., albeit more controlled, was the easier of the two albums to ingest. That said, if it were a fist fight, Crossworld would beat its elder sibling to a pasty red pulp; it's far more wild and testosterone driven, and even if the riffs are a little more pedestrian it just puts more punch behind them. So I like both albums, the debut just a fraction more, but if you're a fan of others I've listened in this review then it's worth tracking down.

Verdict: Win [7.25/10] (the ugly trifles of our existence)

http://auberonswe.blogspot.com/

Auberon - The Tale of Black... (1998)

The idea of a fantastical melodic death metal band promoted a form of promising escapism that was uncommon within its niche in the 90s, although a number of bands in the ensuing two decades have merged that Swedish influence with folk metal, video gaming and other mythological and fairytale concepts. Bands like At the Gates, In Flames and Dark Tranquillity tackled more personal, social or political topics. But Auberon's debut had that look about it, with a wizard standing against some wondrous, alien landscape, which was an immediate draw for me, because I was heavily enamored of their label mates Lake of Tears, who used a similar but more psychedelic imagery for their brand of trudging Gothic doom. So I was pretty surprised, upon first hearing the music itself, that these Swedes had put together a competent melodic death act balancing the gnarled aggression of their countrymen with some solid songwriting that explored harsher and calmer passages, progressive (or at least mildly progressive) song structures, and consistent, non-flashy musical instrumentation.

Dark Tranquillity's first three albums would be the natural comparison, with The Tale of Black... coming off darker, possessing more intense bursts of riffing. The melodies are usually ingrained more into or alongside the chord structures themselves here, whereas on The Gallery they were a more overt, standout feature drawing more directly upon the lineage of groups like Iron Maiden. The leads on this record are pretty good, always moody and adventurous, without ever knowing quite where their bridge is about to come to an end; and the rhythm guitars are riffing off everywhere. Like a lot of similar bands at the time, it was like a mix of thrash and 80s power metal transported into the 'death' metal end of the spectrum through the density, guitar tone and vocals. These had a raucous rasp about them, far more carnal and Lindberg (or Laiho) than hoarse and Stanne. Occasionally, they seem to layer up and bounce off one another to the point that they're a little too raspy and hideous, which can be an amusing contrast once they surge into some part of the record where it feels more like a progressive rock guitar instrumental. Interestingly enough, these are balanced off against sections of cleaner, accented vocals that actually imbue the album with some of its more fantastic narrative feel...

In fact, these vocals are much better than the harsh style, as you can hear in a song like "The Dance" where they are more prominently on display and really bind it all together. Had The Tale of Black... actually used this style exclusively, it might even be a superior effort overall. That's not to say that the rasping sucks, far from it, but they do feel a little too 'Beauty & the Beast' contrasted with the more studied, serious and memorable cleans. The drumming is also pretty good here, double bass rolls and fills everywhere that ramp up the aggression level at least a few degrees, and helping give the tunes that air of power and desperation which made records like Slaughter of the Soul legendary. I won't say the production here is absolutely top shelf, since it seems somewhat washed out in spots, but it was a damn sight better than a lot of other bands choking along on the exhaust of this style, and all in all I was pretty happy with the debut. Not as memorable or exciting as a number of their peers, but a firm recommendation for those seeking out more in the vein of The Fifth Season, Terminal Spirit Disease, Thunderbeast, The Mind's I or The Gallery.

Verdict: Win [7.5/10] (so many legends waiting to be born)

http://auberonswe.blogspot.com/