alternative rock / indie rock / experimental
Death Spells is an album released in mid-September, by American alternative/indie rock group Holy Fawn. One hour long, the record has ten tracks: Dark Stone, Arrows, Drag Me Into The Woods, Yawning, Seer, Two Waves, Take Me With You, Vespertine, Same Blood and Sleep Tongue. A formidable album with a very dense and melancholic tone, Death Spells is a musical study on deliberative melodious introspection, with no clear boundaries between genres, flirting sometimes – very discreetly though – with genres like metalcore, atmospheric black metal and indie rock, albeit their general musical compass is mostly engraved on an alternative rock sphere, radically indebted to post rock. Without any fear to experiment, the band delivers a secure, but volatile sound, that virtually exposes a very mature style. With an audacious, but sensible level of originality, that is deeply intertwined in their inherent musical abilities, Holy Fawn consecrates a very lucid and serious work on Death Spells, departing mostly from slow harmonies, that elaborates in the epicenter of its majestic beauty a solid grace between sorrowful serenades of philosophic serenity and aggressive thunderous downfalls of mordacious agony.
With latent, soundscapes that appeals to very sentimental harmonious propensities, the sound of the group is generally elegant and profound, though they mostly abuse on slow rhythmical devices. Nevertheless, it is possible to feel a very surreal, but dormant fury discreetly positioned at the core of each song, which vehemently adds to the genuine folklore they gracefully elaborate in the vast expansive diagram of their music.
In Death Spells, beauty is everywhere, and strikes with such a peaceful and serene charisma, that is impossible not to feel enchanted by the lucid, delicate and captivating musical tonalities they perfectly expose. Creativity here is transposed as the most excellent device for authentic artistry, and evaluates in an ever aggrandizing sonorous panorama the possibilities exposed by its ostensibly virtuous, but despondent harmonies. Even their hardest passages – some of them remembering metalcore act We Came As Romans – seems to disclosure a deep sense of tranquility, although also delivers, paradoxically, a disturbed hemisphere of afflictive, deceptive and lucid sense of reality.
Although the album is somewhat very long, their general musical anatomy remains cohesive, and their creative greatness is free of any sentimentality and generic passages. Holly Fawn easily flows between genres, in a fluid ocean of sonorous synergy, delivering a very appreciative and peculiar sound, that becomes quite characteristic, as one can hear the album entirely as only one long track, without any disruptive feeling of impatience or monotony. Emerging as the marvelous result of an energetic and meticulous musical confluence, Death Spells has ardently evolved from the sophisticated standards the group established themselves to follow.
Wagner
With latent, soundscapes that appeals to very sentimental harmonious propensities, the sound of the group is generally elegant and profound, though they mostly abuse on slow rhythmical devices. Nevertheless, it is possible to feel a very surreal, but dormant fury discreetly positioned at the core of each song, which vehemently adds to the genuine folklore they gracefully elaborate in the vast expansive diagram of their music.
In Death Spells, beauty is everywhere, and strikes with such a peaceful and serene charisma, that is impossible not to feel enchanted by the lucid, delicate and captivating musical tonalities they perfectly expose. Creativity here is transposed as the most excellent device for authentic artistry, and evaluates in an ever aggrandizing sonorous panorama the possibilities exposed by its ostensibly virtuous, but despondent harmonies. Even their hardest passages – some of them remembering metalcore act We Came As Romans – seems to disclosure a deep sense of tranquility, although also delivers, paradoxically, a disturbed hemisphere of afflictive, deceptive and lucid sense of reality.
Although the album is somewhat very long, their general musical anatomy remains cohesive, and their creative greatness is free of any sentimentality and generic passages. Holly Fawn easily flows between genres, in a fluid ocean of sonorous synergy, delivering a very appreciative and peculiar sound, that becomes quite characteristic, as one can hear the album entirely as only one long track, without any disruptive feeling of impatience or monotony. Emerging as the marvelous result of an energetic and meticulous musical confluence, Death Spells has ardently evolved from the sophisticated standards the group established themselves to follow.
Wagner
