If you ever hear of Lebanon, metal music is definitely not the very first thing you would think of. But this is something that one single listening to music of
Kimaera would change. As
Orphaned Land became a trait metal band of Israel, I believe that
Kimaera has the same, if not even more lucent future.
As well as this, the album
Solitary Impact shows that the future of doom metal is very bright. No pointless whining, no self-flagellation, this album is storming yet the grief is as real as anyone can feel.
And apart of many other elements I think this is the reason why
Kimaera’s music has a potential to enrapture many listeners.
The symbiosis if the classic instruments and leaving a great part of melody lines to keys and violins was a good move in case of this album. Not only that piano solos are very atmospheric and kind of delicate in a way, but the way the keys underscore the actual songs, mostly very unobtrusively, gives the songs an interesting, sometimes even kind of oriental tinge. The whole art of putting the keys in the musical background and back to the leading role is very admirably mastered. When it comes to violin, it is hard to tell if the melodies are more disturbing or outstanding. One thing that is sure is that without them the songs would lack the spirit and melancholy they have.
But saying that the album is only about melancholy and feelings would be nowhere close to the truth. This album shows also the raging side of the band’s creation. The pure death metal riffs can please everyone who is not into emoting very much, but the death strikes are always very sensitively balanced with the slight undertone of oriental or classic melodies.
What also play a big role in this piece take the female vocals, sometimes soothing, sometimes strong, but always with a delicate execution. What I personally love about
Solitary Impact, the album but the track as well, are the dialogues between the male and female vocals. The credibility of the emotions is overwhelming and the spoken passages themselves are perfectly fitted into the songs. In A Breath of
Despair the combination of both styles is very suggestive and captivating. However, the dialogues are not the only speeches there. In few moments the bestial growls are alternated with the clean monologues yet still clean male vocals are not missing as well. However those are not performed by the main vocalist but the keyboardist, whose voice is not bad, but it is a bit confusing if it is so impacted with emotions or the chanting is that difficult. But still I must admit that this singing is much more pleasant than many other “official” singers I have heard.
But the classic metal tracks are not the only thing this album can offer. The two last tracks slightly differ. Of Wine and
Woe is more kind of musical poem, so alluring that you can almost feel the taste of red wine on your tongue. But it’s still not over. It would be a huge shame if this album ended in a usual way. The
Garden Tomb does the credit to its name. She sounds of storm, rain, combined with war shooting and terrified screams are sublimed with almost soundtrack-like melodies and sounds, occasionally changing back to metal and back to the atmospheric composition again. This albums ends with leaving you with chills and a desire to listen to it once more or crave for the next release.
Apart of the great music, full of small fascinating effects (pouring wine, breathing out...), epic elements and the general sex appeal (yes, the music sounds so compelling that it trenches with sexiness) there is a visual bonus as well. The official video of The
Taste of Treason is worth watching and one time is not enough for sure.
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