The latest project of former Mayhem guitarist Rune “Blasphemer” Eriksen, Earth Electric finds the Norwegian musician in typically progressive and diverse form. Forming the band in 2014, and working alongside soprano vocalist Carmen Susana Simões, from Eriksen’s Gothic/Doom act Ava Inferi, the pair hired DragonForce drummer Luigi “Gee” Anzalone, and Doro‘s Luca Princiotta, and recorded a three track demo entitled 2014 the same year.
Making the decision to change both direction and personnel, Eriksen and Simões headed into more progressive and heavier territory, recruiting Grog/Neoplasmah bassist Alexandre Ribeiro, drummer Ricardo Martins (Jibóia/Papaya), and keyboard player Daniel Knight from UK Proggers Messenger for the full début, Vol 1 : Solar (Season of Mist).
Recorded and mixed mainly at Orgone Studio under the supervision of producer Jaime Gomez Arellano (Ghost, Cathedral, Paradise Lost), Solar sees the band taking the darkly gothic sensibilities of Ava Inferi, and fusing them with some of the more upbeat and heavier Prog Metal tendencies of Eriksen’s other band Aura Noir, adding flourishes of Black Metal and classic rock along the way.
‘Mountains & Conquerors’ is a streamlined and purposeful opener with its Deep Purple meets Ghost riffs and melodies, Simões’s ethereal voice giving the song a Liv Kristin Espanæs era Theatre of Tragedy atmosphere – something which is a constant throughout the record. ‘The Endless Road’ follows in the same style, while ‘Meditate. Mediate’ attempts to inject a little more urgency into proceedings. Unfortunately, as tumultuous as the music might be, the vocals keep the song unfairly subdued and soon everything slows down into an already fairly standard formula.
‘The Great Vast’ and title track ‘Solar’ are two definite highlights, however, the former constantly shifting and changing its shape while the latter boasts a sensational ’70s Prog inspired guitar solo. Things slow down a little for the gothy Black Sabbath-isms of ‘Sabbatical Moons’ before climaxing with the powerful ‘Earthrise’. Well, almost. The actual final track is ‘Sweet Soul Gathering’ but it’s all a bit pointless really, sounding like it was recorded at midnight in the middle of a hippy commune, and outstaying its welcome by a good minute and a half.
While the juxtaposition of Blasphemer’s chaotic compositions and Carmen’s soothing, otherworldly vocals works beautifully some of the time, it can also seem gratingly out of place in others. During certain passages, there’s a desperate need for the vocals to let loose, to soar and fly, leaving behind their crooning tranquility and escape to a higher plateau.
However, this never comes, and while the male backing vocals occasionally try to add a little splash of colour, instead of challenging the lead or grabbing the song by its throat, they sit in the passenger seat all too comfortably, and sometimes, barely even noticeably.
A steady, and sometimes wonderfully engaging début, but if the band really want to progress as much as their music suggests, then some bolder steps need to be taken next time.
7.0/10
GARY ALCOCK