Review: Infant Island ‘Obsidian Wreath’
Infant Island make blackgaze music, one of my favorite genres, and one thing I have big opinions about. One of those feelings is confusion as to why it’s seen as a foul word or a lesser genre to so many extreme music gatekeepers. For those unaware, blackgaze is the infusion of black metal with shoegaze tones and post-metal elements to stunning effects that are worth your attention.
Comparisons to the pioneering bands Deafheaven or Alcest are the immediate comparisons naysayers throw at any band wanting to dip their toes in this music style. These claims come as an instantaneously reflex; but I believe Infant Island can take this sound and make something truly unique.
Infant Island are Daniel Kost on vocals, guitarists and vocalists Alexander Rudenshiold and Winston Givler, bassist Kyle Guerra and drummer/percussionist Austin O’Rourke who is also credited with piano, cello, accordion, mandolin, vocals, orchestral arrangement and the production on the track Found Hand. Alongside the regular band members, Obsidian Wreath also features a slew of guest performances who are too many to include in this here review, so for the curious, head over to their Bandcamp page where all will be revealed.
Opener Another Cycle sets both the atmosphere and literal tone used throughout Obsidian Wreath’s runtime. A short buildup of guitars and restrained drumming erupts into a fury of post-metal styled guitars. This is, for those initiated and familiar, orchestral and beautiful, while others may just hear noise as the pained vocals dynamically spew venom from every syllable.
Moving at a breakneck speed Fulfilled is flooded with grindcore elements such as blast beats, heavy distortion, and a grinding bass. The stacked vocals during the closing notes make these ninety-seven claustrophobic seconds scatter the mind and body into a frenzy as the listener gasps for the breathing room that’s graciously provided on the following song Found Hand. While this quiet moment brings us back into composure, that doesn’t mean it’s devoid of terror. Things are a bit more spaced out here but it’s actually one of the crueler tracks on the album; making me feel like I’m being studied and watched. These three tracks make for an exhilarating start that drips with sparkling darkness and passionate performances by all musicians involved.
Clawing, Still smashes that paranoia apart by displaying Infant Island’s ability to make a breakdown over and over. Proving how technical a band they can be with guitars gliding flawlessly into one eargasm after another as everything has been pretty immediate so far. The few moments of buildup really showed a lot in common with previous albums in their discography. But the contemplative Veil is actually something of a slow burn as the crescendos take their time to build but last long enough to leave an impression.
When we see a group of musicians letting go of baggage and transforming it into beauty clashing with agony, it is truly jaw dropping…
It’s moments like this that show the tremendous amount of growth the band has had over the past four years which culminates with the group singing between all the different voices from the guest appearances as a somewhat hopeful and blissful choir bleeds camaraderie. I have to note there’s some vague reminiscence of what Battle of Mice were doing on 2006s Day Of Nights with sinister antagonism between listener and band. Strings then close things out in a beautiful manor but that feeling of unease is impossible to shake.
Amaranthine weaves moments of transcendental bliss that sounds like a Sigur Ros metal fusion we never knew we needed. The guitars get more lush from this point and while most bands would just have that sloppily sitting next to the aggression, Infant Island bends the sound making something much more nuanced and immersed. Delicate guitars take center stage to begin With Sorrow as the vocals are buried in the background and shriek hauntingly.
The previous two tracks can almost be seen as a warmup to the aptly titled Unrelenting. Keys move within what might be the most impressive drumming on the entire album. Austin O’Rourke’s percussion comes with both surgical precision and utter chaos, while the guitars and vocals cut through but never take away from the drumming being the focus. Kindling is the moment where all of this turbulence of pure anger meets fragility as the contribution from shoegazers Greet Death plead ‘It’s a star-soaked ladder, two beating hearts, it’s a dagger rising in the dark’.
This has been an emotional journey that leaves you drained and lifeless but closing track Vestygian marches on with a confident swagger. For seven minutes each cascading sound swells and soars mixing perfectly with each passing moment. Choosing to go out with a bang we’re brought back to life.
I am blown away by this release. There were so many instances across Obsidian Wreath where most other bands would have fallen on their collected faces. But Infant Island executes every tiny detail extremely well. I hope this finds an audience of people quick to write metal albums off as nothing but anger with a new perception of the genre. I also hope blackgaze naysayers see something here as the people who make this type of music typically use this as a cathartic outlet to rid themselves of a deep pain. When we see a group of musicians letting go of baggage and transforming it into beauty clashing with agony, it is truly jaw dropping.
Label: Secret Voice Records
Band Links: Official | Facebook | Bandcamp | Spotify | Twitter | Instagram
Scribed by: Richard Murray
