Album Review – Oathbreaker – Rheia (2016)

Availability: YouTube (full album stream), Bandcamp, and Spotify

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10:56
starts with Caro Tange singing in acapella, then is joined by the guitar in a hauntingly avant-garde instrumental. Being over two minutes long, though it is the opening song, it is also an interlude to the following full length track Second Son to R, which in seconds turns into a full metal piece; combining black metal, post-hardcore and post-metal genres into one. Underneath, there are also inclusions of psychedelic rock in this powerful concoction.

Being able to Feel Nothing is another explosive post black-metal fused song, this time introducing ethereal wave/dream pop like vocalizations and atmosphere. Tange unapologetically replicates Bjork’s eerily deranged vocals, and presence. Stay Here/Accroche-Moi is the first on the track listing to be a melodious acoustic, which hitting the 2:56 mark, forms into an acoustic/shoe-grazing/indie rock harmony.

Needles in your Skin in a descending manner, metamorphosis’s from the shoe-gazing genre into dark rock-doom metal synthesis for the few couple of minutes, and claws aggressively into black metal/Metalcore instrumentation, with Tange screeching, as if in agony or anger; pleading in desperation in the quintessence of the character she is portraying, how someone could abandon her in her time of need. Immortals reverts into melodic black metal, this time with the reintroduction of shoe-gazing, and clean vocals and screams thrown in together, with moments of lethargies.

I’m Sorry, This Is
is pure dark ambiance, sampling screaming children in the distance to give an essence of impending doom, and this track, similar 10:56 leading into Second Son to R, ventures swiftly into Where I Live. In comparable ways, Where I Live alters direction from the lead in song, and converts into avant-garde/black and heavy metal, disassociating itself from the interlacing I’m Sorry.

And though a companion/sister piece, Where I Leave dissolves into progressive ambient rock, with its wistful and saddened melancholy, and just after five minutes, though Tanges’ mournful, lilted CocoRosie like vocals remains the same, the tone of the instrumentation becomes more optimistic, and brings back post-metal qualities confidently. Begeerte, the last track of the album is at first disturbingly haunted, and again acapella. The dynamic and atmosphere, is what you’ll expect to hear in an ethereal wave or neoclassical darkwave song. Strangely, Begeerte seems to be the follow on from 10:56, with the addition of freak folk/New Weird America tone.

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