(Clicka qua per la versione Italiana)
French black-metal duo Vehemence, formed by guitarist Tulzcha,
debuted with the amateurish medieval black-metal album Assiege' (2014).
Now fronted by vocalist Hyvermor and expanded to a trio, Vehemence returned
with Par le Sang Verse' (2019), a more mature, crisp and melodic work.
Epopee - Par le Sang Verse' (9:09) is the archetype of anthemic and stately,
despite the somewhat mechanical drumming,
and is lifted by one of their typical bombastic refrains.
La Sorciere du Bois Lunerive (10:01) is instead typical of the contrast
between almost comically ferocious sections and calmer sections (even a solo of
acoustic guitar), and boasts another pompous refrain.
L'Etrange Clairiere (11:42) begins with a two-minute acoustic overture in full medieval style and then plunges into another catchy guitar riff with blistering drums. Halfway there's another acoustic intermezzo, this time a flamenco-tinged one but it turns into another (flute-driven) medieval dance.
La Derniere Chevauchee (9:38) opens with an emphatic declamation instead of the usual growl and then scales new heights of hysteria before it settles into
its melodic riff.
A pub singalong at martial pace propels closer La Fronde des Anges (8:32) towards the galloping instrumental coda, the grandiloquent finale to what has been an epic journey.
This is the rare medieval-metal album that is not pretentious but instead relies
on solid melodies and riffs.
Inevitably, something is lost on Ordalies (2022).
The melody of opener De Feu et d'Acier (9:17) sounds like a patriottic fist-pumping world-war song, and that be comically antithematic.
Six minutes into Notre Royaume En Cendres (10:15), after the routine break,
we get the most rousing melody of the album, which returns in full horror format in the last two minutes, but the first six minutes were a bit painful.
Au Blason Brule (8:52) first exaggerates the metal frenzy and then is bogged down by a spoken-word break before it finally picks up strength for the
searing instrumental coda.
The opera choir at the beginning of
La Divine Sorcellerie (11:15) is wasted since it doesn't return, and
the medieval dance that later merges with the metal assault (rather than interrupting it) is simply a snippet repeated over and over again.
Thomas Leitner is a competent drummer and a force of nature, but sometimes the drums fill too much space, almost asphyxiating the song, especially since the singer is not exactly a virtuoso.
The result is still an emotional, gripping album, but not as well-rounded as its predecessor.
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