Review Summary: I hear it’s pretty chilly in Russia and that people don’t really leave their homes a lot. I suppose that gives them ample time to produce epic symphonic/melodic/Viking/whatever-the-hell-else metal.
I defy you to classify Tvangeste. These manic metallers from Mother Russia manage to combine the most nuanced of sub genres into one of the most diverse and dynamic releases of 2002. On the surface, the band seems to be yet another symphonic black metal outfit, what with the hefty amount of orchestration and the dark tone of the music. However, this band will keep any listener guessing with the interludes of intricate and beautiful melody and the aggressive rhythms one could hear from a Viking metal release. All preconceived notions can be promptly catapulted out of the nearest window when one comes across the piano-flute duet in “Fire In Our Hearts.” Yes, this variety of styles is what makes [/]Firestorm[/] such an interesting listen. It’s true that by the end of the second track, “Raven (Under the Black Raven’s Wings),” the band will have brought about every aspect of their game to the table. This isn’t really a problem though, because the band moves so swiftly from sound to sound that the following tracks allow the band to expound on the musical ideas introduced in the album’s opening tracks, making each song seem fresh.
Two long years after posting an article in his local newspaper, Miron, Tvangeste’s founder, finally had the lineup about which he had dreamed. The fledgling band quickly cranked out a demo that was received warmly (or as warmly as can be) in Russia and surrounding countries. The hastily compiled demo eventually made its way into the hands of a fat cat member of Apostrophe Records (the official Russian representative of Century Media). Liking what he heard, the director signed Tvangeste and the demo was redistributed around the world. Astute fans of symphonic metal latched onto this release speedily, and the demo left the underground positively buzzing. Due to the encouraging reception of the demo, the band reunited to write and record their next work, [/]Domination of Reglomontum[/]. The finished product appeared on the scene in 2000 and earned the band accolades from every which way, including North and South America, Europe, and Asia. With the success of their first full length under their belt, Miron decided to take the band’s next release to another level, adding his wife, Naturelle, to the lineup to play keyboards. The composition process of [/]Firestorm[/] was a grueling one, lasting several months, but the outcome is definitely one worth listening to. Well, at this point, I’m guessing you’d probably like it if I would shut up and actually talk about the music. Word.
This release is truly a unique one. The chugging performances of the rhythm section lay a solid foundation for the melodies, both beautiful and sinister, to come and go seamlessly. The guitars spend most of the time lurking in the shadows, supporting the great orchestration, vocal, and keyboard performances. But don’t get me wrong; the guitars aren’t uninteresting in the slightest. Their driving rhythms outfit the music with a compelling dynamic and evil atmosphere. They occasionally do take the spotlight, however, producing beautiful melodies and riffs that add an interesting shade of color to the band’s black metal sound. The bass, when audible, makes a similarly important contribution, subtly interacting with the elaborate orchestration, the result being a pretty engaging musical dialogue. The drums (also performed by Miron) seal the deal, and, in spite of some rhythmic discrepancies, add the finishing touch to the aggression and atmosphere created by the rhythm section.
The main event of this release is not these instruments; it is instead the elaborate orchestration and vocal performances. For this album, Tvangeste enlisted both the Prussian Chamber Choir and the Battle Symphony Orchestra (that name alone is enough to make any metal head giddy) to help make this album. In the end, these two additions prove to be the band’s most valuable assets. Let’s talk a bit about the orchestration which was composed primarily by Naturelle and Kaya (first violin of the orchestra). Put simply, it’s ravishing. Both women demonstrate their undeniable musical competency. The orchestra successfully accomplishes several things. It accentuates the music’s rhythms (at the beginning of “Birth of the Hero” for instance), making them all the more powerful when they would otherwise seem lacking. This stringed sensation also imbues the music with a sense of suspense and tension at times, producing shrill chords and melodies that compliment the music’s ominous qualities perfectly. The orchestration is perhaps best utilized in “Pekuno’s Flame,” whose soaring melodies bring the song to life and present possibly the most affecting moment of the album: a lone violinist bowing beautifully dissonant notes coupled with the haunting echoes of thunder in the distance. Pretty awesome. Lastly, the orchestration always seems necessary and fitting, unlike in other bands such as Dimmu Borgir where the orchestra sometimes comes off as more of an extraneous novelty item. Naturelle’s keyboard performance is also quite good, sometimes similar to Cradle of Filth’s gothic ghost tones. She also comes up with classically influenced leads that have a certain levity that contrasts the music’s gloomy mood. The operatic voices of the Prussian Chamber Choir throw an element of majesty and melodrama into the mix, making this album all the more intriguing. The vocal deliveries are astounding and intensify the melody with and without the guitars’ backup. They truly complete the Tvangeste package.
So what’s wrong with the album? The mixing is kind of awkward, particularly concerning the guitars. When the orchestra isn’t going to town, and the band is left to carry its own weight, it sounds more like just vocals and flurries of double bass rather than a group playing together. The vocals themselves are also a possible downside. These raspy vocals sound as though Miron might be missing a fair portion of his larynx, and they could definitely put off some listeners. Vocals and mixing aside, the album is free from any other major faults.
Whew! Hope I didn’t put you guys to sleep with that lengthy review. That was really just my wordy way of saying check these guys out, you won’t regret it.
