I’ve just been re-reading my review of their last album, ‘Blessed Extinction’, which came out in 2013. I was incredibly impressed with that one, so it’s a shame that I can’t say the same about their new one which is out in April. Mainman Corvus (guitars, bass) has this to say about it “mainman Corvus: “I always perceived Cult of Erinyes as a portal that allows my mind to connect with different universes. I had, from the very beginning of the creative process, to immerse myself in a definite period: Ancient Roman Empire, Tiberius era. Each song, melody, riff, had to refer to a variation of emotions forgotten by Time itself. What sounded like a fantastic challenge ended as a nightmare where my subconscious get lost. Desperation, frustration and madness raised dangerously. This third album is our most progressive effort so far, but also contains radical and intense parts sublimed by Mastema’s urges for ferocity. We both went as far as we could on this album and were lucky to be helped in our task by long time devoted musicians Algol (bass, additional guitars), Baron (lead guitars, artwork) and Déhà, who handled the drums, some guitars/keys and the mix/mastering process. Last but not least, Alex (Kall, Hypothermia, Craft) offered us a 5-star bass line on the intro and Marc De Backer, my brother in Wolvennest, added some crystal-clear guitar sounds on the album. This album also marked the end of my long time musical and spiritual journey with Mastema. I can only but respect his decision and salute the energy he shared in Tiberivs. This concept album was his idea, and I’m glad we end our collaboration on this high and digressive note.”
Interestingly, I think that Corvus has hit on issue for me with this album by using the world “digressive” which can be taken to mean a passage or section that deviates from the central theme in speech or writing. I don’t think the vocals always work with the album, and this may be through trying to get too many words into certain lines, and this provided a distraction from the album. The whole thing feels disjointed, so there are some areas of the album where I am wondering why I’m playing it, and then there are others where it is breathtaking in its power and passion.
Possibly this is a grower, and the production and ferocity is excellent, but with additional musicians being involved, and obviously, some stresses between band members with the departure of Mastema, this hasn’t hit home as hard as much as the last one. Apparently Déhà will be handling vocal duties going forward, so let’s see what a settled line-up can do for the band.
