Spring in Blue

So last week I was sick, proper winter sick, with flu that made my head reel and my muscles ache and my nose raw. I think I had pneumonia too, although I obviously didn't say that when I phoned my mother, because I was tripping a little and imagining some connection between real things and the things I thought about in my head, as well as other weird symptoms like being sensitive to light. Anyway, the point is that Svnth were quite a good band to listen to during that period, since no one really wants to hear blastbeats when they're sick, and these Italians offer a more gentle way to experience extreme metal, with downplayed ferocity that allows heaviness to "wash" over you in a very post-black manner. Admittedly, I did think there would be more synth in the sound, but that's just my wrong expectation about the band name, which changed from Seventh Genocide just before this third album.

Although Spring in Blue proved agreeable when I was feeling under the weather, this sort of rangy post-black metal doesn't usually attract me too much, in part because it tends to be a hit and miss affair of atmosphere and emotion, where my mood needs to match the compositions to avoid feeling bored by the instrumental excursions or relative simplicity of the playing style. Svnth can't be called the worst culprits of post-laziness, actually approaching their songs more like progressive compositions, where they do not merely build and release in typical post-rock fashion but instead cut quite specific paths through varied territory for up to 14 minutes at a time. They do the whole heavy/clean thing, but more in the manner of Agalloch than recent black metal, creating spacious sections on songs like 'Parallel Layers' that feel outdoorsy and contemplative. Admittedly, I find myself a bit embarrassed in this circumstance, because I have to reveal that my normal interpretation of formulaic post-black metal is "slowly climbing the mountain; life is so tough; oh look at the sunrise; my spirit soars", and you can rearrange those concepts according to the sequence of the song. Anyway, my point is that Svnth sound much freer than that, and do not differentiate so strongly between dark and light moments.

As a metal listener (and one that's no longer spending 20 hours a day in bed), I have to say that an appreciation for other genres will help to digest Spring in Blue easier, since pretty long parts include little to no metal content, while the overall proportion comes to about 50/50, not to mention that the production keeps the heaviest elements restrained. The band themselves claim influence from '70s rock and also shoegaze, which I can qualify by saying that their methods may reflect those of '70s rock but not their playing, while I suppose most people are familiar enough with Alcest and An Autumn For Crippled Children to know what shoegaze does when applied to metal. As far as I'm concerned, the only difficulty these influences create are to stagger the momentum of the album so much that you no longer need to think about a forward-moving listen, more a kind of luxurious stagnation. To the point, 'Wings of the Ark' sounds like Pink Floyd without the British samples. When I was sick and my head was muddled, this drifting aspect was a good thing; now I'm better and can concentrate on the music fully, I'm not sure that it's always purposeful. Unlucky, post-metal, for being unconducive to analytical frames of mind. (Is this why my post-black reviews often have middling scores?)

To put a different spin on what I've been saying, I'd be surprised if you liked all 60 minutes of Spring in Blue unless you are truly into the "along for the ride" mentally needed to go with the flow and see where Svnth take you. On the other hand, that means the album includes some great parts, and I'm personally in favour of 'Chaos Spiral in Reverse', which despite running the longest of the 6 tracks keeps its focus for longer and packs a super progression throughout the middle of the song that uses a lot more lead guitar ideas than elsewhere...and yes, is one of the heavier sections overall. In that context, I can advocate the decision for allowing the remainder of the song to pass at low ebb, since it feels like a glass of cold water after a long run, though many of the other cuts break up into smaller segments and thus create more of a chopping and changing feel that I'm less keen on. As I've stated above, this hits differently in different moods and requires an appreciation for wider musical pastures than only metal, though in my estimation Svnth have produced something interesting that could, with slightly better organization, be ranked highly in the genre, while also avoiding typical pitfalls of integrating post-rock into metal.

Italian based black metal band Svnth are back with their third full length. In case you are not familiar with this name this is no surprise as their formidable second full length “Toward Akina” has been promoted under the lengthy version Seventh Genocide. Name games aside is great to see them return, as “Spring in Blue” takes everything that made its predecessor so great and expands upon it. A lot of acts these days try to find the right combination of atmosphere and the feral side of black metal, but not many come close to what Svnth are able to do with these elements.

This album takes the core of the band’s black metal origins and increasingly channels this through avant-garde and post-black metal influences to create a thoroughly modern and forward-thinking album of blackened musical landscapes. This is music with depth and substance baked into it, and it shows on almost every second of the more than an hour playing time here.

The goal of Synth is to blend contrasting elements, calamity and aggression, pain and pleasure, light and darkness. A lot of bands throw these kinds of statements out and it often comes across like a pale attempt at making sense of standard accords with a few synth sample added on top. One spin through this record shows tough that these lads have an idea how to work their heady conceits into solid heavy music and how they have succeeded in arranging certain sections and the placement of the songs in the context of the whole album to present a great and coherent journey for the listener.

Special mention should go to the guitars; some of the guitar parts on this album are just jaw-dropping, and really captivating. Whether going for atmosphere, a certain emotion, blistering assault, or just plain strangeness, the guitars help shape the music’s feel and impact even more than you would normally expect for something of this nature. There is shifting and changing, with actual, proper riffs finding their way to the surface amongst the assault, coupled with tasteful leads that add a sense of traditional melodies to the whole affair.

The tracks are pretty lengthy and although it could be argued that in some moments they could have come to the point quicker instead of adding another interlude at no point I got the impression that the album is overstaying its welcome. Once you are drawn into the heart of the music you are swept away, hypnotized and fascinated. While the title might suggest otherwise this is fantastic music for the first days of autumn.

The production is top notch again, very clear and transparent. The drum sound is also great and not too synthetic and modern, making “Spring in Blue” an enjoyment to listen to from start to finish. Svnth have proven that they are capable of refining and progressing their already extremely capable and enjoyable sound and I am excited so see where they are going next.