Global Domination | Reviews | Mirrorthrone: Of wind and weeping

Recent updates

Recent discussions

Reviews

Mirrorthrone: Of wind and weeping

08/03/12 || Cobal

The story of how this CD made its way to my hands is sort of odd, one could even say ‘twas a coincidence, except of course, even Freud agreed there’s no such thing as coincidence, only the illusion of coincidence. I had had the chance to listen to one of the pieces (they’re regularly too long to be considered songs strictly) encompassed in “Carriers of Dust” a later album by MT, listening to an Internet radio station, and I was completely caught by it. It was furious and artistic, and the composition was outstanding. So six years ago from now, what one could and would do is to go to the local dealer and ask whether or not they could get the release, and order it for that matter. Around a month passed and finally I got… the wrong album. The same band indeed, but instead of that intriguing release I had been eagerly expecting for, I got “Of Wind and Weeping”. That’s crappy, uh? Well, I can tell you this: that’s how things are in fucken third world.

Needless to say I was pissed, and that didn’t exactly work for my appreciation of the record. Feeling frustrated, I only purchased the damned thing for the employee’s an acquaintance of mine, and I didn’t want the poor ol’fuck to be told off unnecessarily. So, I got it… and I couldn’t be any gladder.

As many as you shoud know by now, Mirrorthrone is another one of those one man band sort of black metal projects out there. And I’m deeply into that shit; a few could know that as well. This guy’s name’s Vladimir something and there’s few information on him, yet there are those who have gone as far as saying the lad is a misanthropist. I don’t know ‘bout that, and I really don’t care.

Now, with regard to the record itself, it’s not a pure black metal one AT ALL. Neither is it one of those weak melodic pieces of shit. I have nothing against melody, I really don’t, but I’m sick of so many bedroom bands that play a bunch of heavy metal riffs all mixed up with some tremolo picking and the dullest harsh vocals they can perform, and dare to call their stuff melodic black metal. Mirrorthrone is nothing like that, although there’s melody in his music fo’sure; he goes beyond as he’s a REAL musician. I know, I know. Most of you head-bangers have a problem with musicianship, right? Even so, you must give a guy plays and performs every single instrument and vocal in his project, except the drums which he “just” (HA!) programs, some credit.

There are some hints of black metal here, particular when it comes to the subject of the drumming, harsh vocals and a few guitar riffs, which unfortunately lack of presence throughout almost the whole work. That, my friend, is the most objectionable point if you ask me. Being a metal release where guitars were recorded (see my last review on Neanderthal’s “Australopithecus”), I was truly expecting to listen to the guitar work. As I said before, guitar completely lacks weigh, and it’s rather the keyboards that shine, working both as a piano and synthesizing orchestral sounds. Avant-garde they call it.

How experimental is it? I’d say much! Mainly symphonic, but also byzantine, baroque, romantic and Renaissance influences are to be found here. Songwriting is quite complex, even to the point that a couple tracks should be called suites instead of songs. I told ya!

Vocal work is another thing to be listened to. Regardless the lyrics, which I’m normally too lazy to pay attention to, the way Vladimir recorded and assembled several voices of his own voice, so to speak, is quite interesting. A combination of regular harsh vocals, medium tone whispers and choral arrangements, enriches the music in a significant way. Also there’s a couple tracks where a female voice duets with Vladimir’s, yet I couldn’t find any information on who the babe is, except her name is Marthe Gallaz, and she is just a guest singer. The result of this duet is also quite relaxing, a moment of rest if you like.

About the rhythm section I must state in advance I’ve never had a problem with programmed drumming a priori. Mainly because I know it ain’t as easy as purists pretend it is. Firstly, you need to know what you’re doing before start messing with any machine or software both theoretically and practically, and second, ‘cause in the case of a composer, his job is that exactly: to come up with interesting functional percussion lines rather than to perform them himself.

Was any bass line recorded here?

All in all … fine, let’s be honest here! It is a hard to swallow this one. Even if you’re into experimental stuff, you’ll also quickly notice the absence of strength in the guitar lines, yet I’m positive ‘twas a matter of post-production, instead of recording. Once you’ve gotten over that, “Of Wind and Weeping” might become an acquired taste; or not. It definitely won’t if you qualify as an orthodox. I would still recommend it, particularly if you’ve had this feeling there’s nothing new under the sun.

Information
Released: 2003
Label: Red Stream, Inc.
Website: www.mirrorthrone.com
Band
Vladimir Cochet: bass, drum programming, guitars, keyboards, vocals
Marthe Gallaz: female vocals (tracks 5 and 6)

Tracklist
01. Racines Dénudées
02. Florilège Lunatique Occultement Révélateur et Néantisation Caduque Engendrée
03. The Four Names of the Living Threatening Stone
04. Aborted
05. Beyond the Mirrorthrone
06. The Notion of Perfect
07. Moi Mort…
08. Of Wind and Weeping

Reviews