It has been way too long since I heard Myrath, as the last album of theirs I reviewed was 2011’s ‘Tale of the Sands’ and there have been two more since, but at least I now have ‘Karma’ which is a blast of joy from the first note to the last. It is said that when the guys signed to Brennus to release ‘Hope’ back in 2007 they were the first band ever from Tunisia to be signed to an international label. I don’t know how true that is, but I certainly can’t think of any other bands from there (a quick check of PA’s charts for top albums from Tunisia finds them the only band listed). The only true description of their music is prog metal, but they have been through different styles and influences over the years and here we find them quite removed from their more folk influence norms, but they still find room for Middle Eastern touches here and there, plenty of orchestration and loads of polish. Guitarist Malek Ben Arbia has been at the helm for more than 20 years, founding the band originally under the name XTAZY (who released a demo in 2005), while bassist Anis Jouini played on the debut album, which was produced by Kévin Codfert. The following year they gained a new singer in Zaher Zorgati while drummer Morgan Berthet finalised the current line-up in 2011. However, before they started recording this album they lost keyboard player Elyes Bouchoucha, who originally joined XTAZY back in 2003 and had played on every release, but they found a guest replacement in Codfert. What this means is that since they became Myrath and a full recording unit they have had pretty a stable line-up, and that shows.
My only complaint with this is not in the songs, which are packed full of hooks, or the vocals (which are sublime) or any of the musicianship (which is superb) or even the use of strings to emphasise the Middle Eastern roots, but with the production. This has been polished within an inch of its life, and possibly more so, which means it is just too sweet and leaves something of an aftertaste in the mouth. It is still an excellent album, but if the production had been pared back and been less (dare I say it) American, then this would probably have been essential. It is an album which dares the listener to turn up really loud and join in, letting the music swirl as the beat and groove gets everybody dancing, but I just wish it was a little rawer and rougher around the edges.
What I do know is that it has been way too long for me to miss out on Myrath who are Angra taken in a different direction, and like the Brazilians are certainly worth discovering.
