(Andy Synn dedicates some of his precious time to the recently-released debut album from Embrium)
While we’re not averse to covering some of the “bigger” names – relatively speaking – in Metal now and then (we’ve recently written about new releases from the likes of Whitechapel and Septic Flesh, for example, and will be saying a few things about the new Allegaeon pretty soon) our primary focus is, and has always been, on covering artists and albums who don’t receive as much attention and exposure as they probably deserve.
Case in point, today we’re taking a look (and a listen) at the debut album from San Francisco-based Blackgaze crew Embrium, a band so underground they don’t even have an entry on the Encyclopaedia Metallum yet!
Let me be clear right from the start – Embrium aren’t doing anything particularly new or unique here (you can clearly discern the DNA of many of the band’s progenitors and primary influences – some Alcest, some MØL, some Deafheaven, etc – woven into the fabric of the record).
But that doesn’t prevent Timekeeper from grabbing, and keeping, your attention right from the start, as it quickly becomes clear that Embrium already have that “it factor” – whatever “it” is – which should, given time, help them stand out from the crowd.
This is particularly obvious on tracks like proggy powerhouse “The Witchening” – which, despite wearing its inspirations out loud and proud, successfully blends eloquent, emotive melody and violent, visceral intensity in equal measure – and the soothing, yet seething, “Dream Hunters” (the early pairing of which clearly demonstrates the potential depth and scope of the band’s sound, even at this early stage in their career), as well as the thrilling tension-and-release of outstanding second-half highlight “Eclipse” (wherein the compelling intricacy of the band’s clever instrumental interplay is on full display).
Sure, they’re definitely still standing on the shoulders of giants (and, as in the case of the lilting, lambent “Awakened”, sometimes wearing their clothes too) but there are also moments here and there – such as the cinematic ambience which infuses “Hyperion” or the more Shoegaze-leaning, Shedfromthebody-esque shimmer of “The Chantry” – which hint at possible steps the band might take to separate themselves from the pack a little further down the line.
In conclusion then, I strongly urge you to put some time aside – it won’t need to be too much, as even with the inclusion of a smartly reinterpreted cover of “Televators” by The Mars Volta the album only clocks in at just over thirty eight minutes in total – to give this one a proper, fully focussed and engaged, listen… you might just discover your new favourite band!