Austrian duo Harakiri For The Sky have spent the final decade establishing themselves as one of many cooler names to drop because the post-black metallic increase has swelled to crucial mass. Their melding of ethereal, expansive melodies and harsh, frosty riffs virtually felt zeitgeisty a number of years again, so, as they unveil their fifth album, Mære, listening to what evolutionary steps they take feels genuinely intriguing.
In the end, what we get is extra of a refinement and continuation of the sound they’ve been crafting, though that’s to not say there aren’t a number of surprises alongside the way in which, and with the standard at an impressively excessive commonplace. After a good opening, the second monitor, Sing For The Injury We’ve Finished, is a implausible assertion of intent and units the bar for the remainder of the file. Stuffed with expertly crafted riffs, some tornado-like rhythmical drums shifts and passages of delicate, however majestically stunning, sedate moments, it’s an exquisite music.
To its credit score the album does hit these highs with spectacular regularity, particularly the epic 11-minute journey of I’m All About The Nightfall and Silver Needle – Golden Daybreak’s plaintive piano turned blastbeat tsunami of noise, however the principle downside with Mære is that, regardless of by no means dropping its requirements so low that you simply’re turned off, the 85-minute-long working time is exhausting. To spend this lengthy within the firm of 1 band they should combine up the dynamics even additional than Harakiri For The Sky do right here; about an hour in and also you’ve seen the magician pull the identical trick a number of too many occasions for it to wow you once more.
A closing cowl of Placebo’s Music To Say Goodbye does convey a special, much-needed, flavour to the file within the type of slightly alt-rock catchiness and a few post-punk drums. This might have been a implausible album, however with listener fatigue factored in, this makes Mære simply an excellent one.