Eclipsis Vitae

Despite having the name of a mid-2000s emo band, Cruel Life Inside are another package of reforms aimed at making something of “positive” black metal. We could spend all day descanting on what we mean when we say music is “positive” or “negative”, and whether black metal even conforms to particular definitions of one or the other. But for our purposes in reviewing the debut album from Italy’s Cruel Life Inside it is enough to know that the music contextualises itself as post black metal. The fact that bands like Alcest or Fen have not so much made “positive” black metal as they have the musical equivalent of watching paint dry should not put people off other artists operating under “post” credentials.

So it is for Cruel Life Inside, whose work – if read one way – is post black metal, whilst offering an entirely different experience to more commonly understand tropes of the genre. Yes, the music found on ‘Eclipsis Vitae’ is broadly positive, life affirming, hopeful, but this is achieved by working more heavy metal and melodic leanings into the framework in the manner of a latter-day Midnight Odyssey more than anything else. This instantly makes this album more commendable than many releases offered with a similar intent behind them. There is a clear attempt to frame this album as a journey, with the starting point being the usual malevolence and grandeur of traditional black metal, which we gradually leave behind as the album progresses on to lighter pastures, the melodies dabble in major keys before setting up shop there for good, clean vocals take over, and flowery keyboards are deployed as respite from the cruelties of the distorted guitar.

With that in mind, and taking a quick look at the production, a more useful moniker for Cruel Life Inside would be atmospheric black metal. Yes, there is a rich array of musicality on display across this album, but twas ever thus for Summoning and Midnight Odyssey, who are both broadly understood as atmospheric as well. The Production on ‘Eclipsis Vitae’ is geared toward this end, with guitars soaked in reverb but retaining a sharp attack more in line with expressing the melodic heavy metal stylings that take hold on the second half of the album. Keyboards are a wash of atmosphere, usually settling on understated synth tones to bolster up the overall size of the mix, but also taking on some lead melodies along the way. Thus it is left to the drums to bottom out the sound with some much needed bass. The cymbals may be a watery static to compliment the guitars, but the snare is kept to a bass heavy thud, making it harder to distinguish from the toms. But as there is little competition at this end of the mix, the tight performance remains in full view for us to witness.

Given the teleological structure of this album, reactions may vary within one individual as much as they would across different listeners. The first half of the album presents a strong character, a well-ordered mix of melodic black metal, symphonic metal, and subtle heavy metal riffing. The result is a more concise version of Midnight Odyssey, and given the needlessly lengthy compositions this latter outfit is known for, the brevity of Cruel Life Inside is most welcome. But as the album progresses, and the mood turns from gentle catharsis to outright celebration, things take a turn for the Nightwish. The clean vocals are not strong enough to carry the melodies with the conviction required, the keyboards take on a touch of the Disney, and many of the riffs move from the longform structure of heavy metal into the instant cyclical gratification of rock. The decline is gradual but severe.

The instrumental ‘Infirmus’ may hold much beauty within its minimal neoclassical stylings, but it also marks the turning point of the album. The unabashed ambition of the first half gives way to a heavy rock affair with distorted backing vocals. In this regard, one reading of ‘Eclipsis Vitae’ could be as a brief history of the decline of 21st Century extreme metal. From wisdom to farce. Make of it what you will. The overall mood and atmosphere Cruel Life Inside reach for is compelling, and the musicianship and approach to composition is not to be sniffed at. But one cannot help but lament the trivial place the album ends on considering the bold starting point.

Originally published at Hate Meditations