Mantra for the End of Times

In case someone expects some kind of “metal inspired mantra” or some insights into the “end of times” on this recording, then this person will most certainly be disappointed by the performance by this Italian band, because neither of these aspects have found their way into the music. With only the lyrics of one track available and a rather modern (and mainstream-oriented) interpretation of the black metal genre, this debut output attempts to reach out to those fans, whose taste combines a certain amount of self-hatred as well as despise for the conservative approach of this this type of music.

Luckily, the band does not follow the Western trend of merely drowning the concept through an endless barrage of keyboards. Or rather it does not feel this way, because the direction in which it all moves has a certain focus on Middle Eastern elements; at least those who happen to be of some prominence in the West. The melodies are enriched by various facets that fall out of the spectrum of the ordinary and it is up to them to bring the music on a new level. Two bands come to mind in this respect: Arcturus and Solefald. The Italians do not reach the level of the Norwegians, but a certain similarity in regard to the way the arrangements appear can be discovered. Kalki Avatara, and this is another main difference, is considerably less metal than the other two aforementioned bands.

“Mantra for the End of Times” offers an approach of contrasts. While the metal guitars play an important role, the intensity takes a dive again and again. Instrumental interludes, often without any amount of heaviness, tend to lead the general dynamic astray, and into a direction that not all fans of the metal genre might find pleasant or interesting. It is possible to make out a certain direction in the concept of the album: it opens with a hybrid between the facets, while towards the end the heaviness has gone altogether. A mixture of folk and neoclassic is what becomes dominant, but it fails to impress on a larger scale, due to the sterile sound of the instruments. Whether these were all created through some kind of keyboard or synthesizer is an open question, but as bands from the Middle East have a similar sound on their albums, it is easy to come to a rash conclusion.

Nevertheless, this output has a fascinating playful charm now and then, which should be emphasized and be brought up as an argument in favour of this release. The title has many errors in it, especially in respect setting the proper stage for the music and a track title like “Waiting for the Golden Age” has also a somewhat pathetic touch to it, but the band is actually able to deliver a solid performance.

Based on a review originally written for ‘A dead spot of light (Number 22)’:
http://www.archive.org/details/ADeadSpotOfLight...Number22