Recorded by Michal Kacunel and Tomasz Gajewski at Sia Accoustics, New York City. Mixed by Pawel Marciniak at Manximum Studio, Lodz, Poland. Mastered by Alan Silverman at Arf! Digital, New York City. Released on Black Current Music, 2009.
- Maciej Kupiszewski—Vocals and rhythm guitars
- Michal Kacunel—Clean vocals and lead guitar
- Jakub Kupiszewski—Bass
- Adam Romanowski—Drums
- New setting
- Thawing innocence
- Stare into the sun
- Canvas for departure
My second (and final) Gwynbleidd recording to review in as many weeks.
First off: the artwork and packaging is brilliant. Travis Smith at Seem Pieces has done an amazing job. It’s earthy and dark, reminding me of some of the early Opeth artwork. The booklet continues in the same vein, with grainy photographs with lyrics printed over the top of them in white, typeset in a scratchy handwriting font.
This album follows the path of the first two tracks on Amaranthine (2006), which took a more death/black metal path (compared with the folk-metal offerings that made up the rest of that EP).
And it’s good: the songs twist and turn in a suitably progressive way, without becoming predictable or clichéd. The album opens with a re-recording of “Nostalgia” from the Amaranthine EP. The following track on that EP, “New settings”, also appears in a re-recorded form at track three. The rest of the album contains, as far as I can tell, new material.
The production on this album is great, which makes such a difference to an album. The guitars are powerful and meaty, with a fine crunch. The bass cuts through the mix, between guitars and drums.
In my opinion this is a much, much better recording than Amaranthine, but then by 2009 the band had about three years more experience, and the songs have had time to breathe and develop.
Track five, “Adrift” is the shortest on the album, at 2′ 45″. It’s mostly acoustic guitar, with a twiddly guitar solo over the top of it.
But it’s back to distortion and growling vocals for “Thawing innocence” and beyond. Though each song (in a true prog death metal way) transitions between dark and light, distorted and clean.
The final track “Canvas for departure” gradually grinds to an irregular, and mildly chaotic standstill to close the album.
I really like this album. It’s well written, well played, and the songs seem to discover themselves, naturally cutting a path that uncovers beautiful clean arpeggios alongside full-out death metal riffs.
I guess if you’re really upset that Opeth have taken a left turn into 70s-inspired prog rock, and you’re in need of a fix of good old fashioned progressive death/black metal then turn your sights on Gwynbleidd. Though, to be honest, you currently only have this album and the Amaranthine EP to chose from, and this album far outclasses the latter.
Review score: 95%