Hombres, here is the first show by a band based in the Iberian Peninsula, Catalonia, more specifically Terrassa. Just in time for the end of school, VIDRES A LA SANG send their fifth long groove on the journey: “Fragments de l’esdevenir”. The band’s name refers to the poems of the Catalan writer Miguel Martí y Paul, who died in 2003. Incidentally, this is about the decline of modern society, with reference to inflation. For the sake of completeness, the band has been on a creative hiatus for nearly a decade.
„word death“Contains the longest introduction I’ve heard in a long time. It doesn’t always have to be complicated, because the pronounced style is technically reserved, but the song still exudes flair. I have to criticize the guitar solo, it turns out to be simple, but not fragile enough in my opinion. Some synthetic overtones here, short and fast, like Steve Vai and Co. They would have tightened the suspense a bit, but that was probably not the band’s goal at all, but the crystal-clear sound of Spanish mines, which are filled with sweat, blood and Co. tears had to be dug out of the mountain. It was, it is, and it will always be. trustworthy.
„save my eyes“: Ajaijai, how many tones are really tuned to the instruments here? The problem with this is that the sound flows into the airwaves with little differentiation, as if coming from one of the dungeons of the Spanish Inquisition. The title where someone asks to save their eyesight. It fits in perfectly. Who will save my ear canals from these sounds from the torture chamber?
„bellies of light“The Habits of Light. Understood. 3:48 Without a lasting impression.
„until now“: Please see Martin Martinez – bassist – more below. I think this crystallization of the sound was intentional. Even the solos sound like an ax striking ore-rich rock, sending out harsh metallic sound waves. Unfortunately this band is ranked within Progressive Death Metal and it’s not clear to me where to find the Progressive part.
„Now is tomorrow“: Well, I don’t think this is the beginning of the music. The main trick is the simplicity, which leaves a lot to be desired. Maybe the sound could be saved if you wanted to refer to KYUSS.
Conclusion: I’m very surprised that OPETH bassist Martin Mendes is the bassist here, because the multi-rhythmic fun of OPETH’s album doesn’t have much in common with VIDRES A LA SANG. The sound is rich, crystalline, slightly amorphous, like an ancient castle hidden in the Spanish Andes where the expelled believers hid. I think the target group or the orientation of this band is a certain group. Unfortunately, the orientation is so far removed from the tonal sensation that I am pleased that it is still difficult to make an objective judgment here. Finally, it should be positively noted that the Catalan singing and the singer’s timbre combine with the music to form a force, an irrevocable crowning unity. Well, Spanish, like almost all the languages of the continent, is a perverted language, but at the same time it sounds rhythmically heavy to my ear, more like a slash and thus forms a contrast to the language of the neighboring country to the north. The editorial office is a successful portal for potential newcomers. As with the last reviewed album, it then goes into depth, but that doesn’t mean that enlightenment doesn’t await here.