MetalBite Review by Alex on 11/28/2018 7:06:55 PM
As if what 2018 has given us isn’t awesome enough, yet we get another album by an band that is very passionate about making metal music. Lethean is the name of the group hailing from the United Kingdom, and their quest entails mounting horses to travel and conquer.
“Idylls of the King” sets foot on the battlefield and strikes with both might and decorum; Thumri’s voice covers the fallen soldiers, guitars and drums plays an honorary requiem for the unfortunate that dare to stand in their way and such the cycle continues song after song, body after body, blow after blow. This music is a bubble of orgasms, preserved and given comprehensive oversight and direction. Whom is to be credited for this decree of diligence? all members, but most notably Thumri Paavana; her voice is beautiful, an absolutely mesmerizing display of vocal capabilities. Her voice is like a combination of Annick Giroux of Cauchemar (Canada) and Candia McKormack of Britain’s Gothic/pagan rock band Inkubus Sukkubus. I swear I almost mistook Thumri for Candia, the resemblance is very strong in her vocal performance. Give Inkubus Sukkubus’ music a listen and make the comparison yourself. She steals the spotlight on every song, it’s almost unfair to the rest of the music that summons unshakable instrumentation throughout the run-time of The Waters of Death.
Next you get a song like "Seafarer" that sums up the wielding power of Lethean, this is where muscles of the instrumentation clashes with the beauty of the vocals like a storm at sea on a sunny day. The contrasting factors of the music is just too much to go unnoticed, vocal highs, mid ranged toned guitars, battle-esque priming that can be heard on “Devouring Fire”, guitar solos that are both long and short, slow and mid paced and doom metal drumming that pairs off with traditional heavy metal hammering, there’s so much to discover and keep your ears glued to the speakers. The Waters of Death has a courageous sound that convincingly conveys a commanding crusade. Thanks to a disciplined vocalist that has very good control over her pitch/range; “In Darkness Veiled” brings to note just how well the band can transition from verse to chorus instrumentation whilst flaring the music by adding layers to Thumri’s vocals for emphasis. I just wish the song was a bit longer on this outing, I feel a bit robbed of that beautiful voice on this particular instance. That vocal multi-layering technique could have been used a bit more on the record; deter not, The Waters of Death is still a fantastic record.
Like other good albums I’ve heard, the stronger segment of the record is on the A side. The B side of The Waters of Death are not bad at all, they could not outwit nor challenge what was offered early on. Though I would say, "Time and the Gods" was a good attempt to recapture some of the catchier parts on the first 3 songs. With its tonal variation and constant mid-range guitar leads its not the most memorable of the tracks but arguably the most experimental on the record hence the many nods to early doom metal. The production helped to shape the success of The Waters of Death by keeping a fairly smooth tempo mixed with a slightly crunchy sound of the guitars. A few more guitar solos would have helped the music apart from Thumri’s awesome vocal display, but as stated earlier her voice tramples through the record diminishing other worthy performances. The Waters of Death is a tidy album, for its 43 minutes of play time it never sounds like a drag; with such well arranged compositions and competent instrumentation one could do little wrong.
Rating: 7.9 out of 10