ALBUM REVIEW: 1823 – Embr
Despite its potency for earth-shattering riffs and wave after wave of fuzzy goodness, doom metal can often stand as heavy music’s most emotional sub-genre. For it is within doom metal where bands often explore the fragility of existence and the anguish of real life experiences; invoking a wide palette of emotions. To trigger an emotional response is in fact, a cornerstone in doom metal’s musical makeup, something which American newcomers EMBR take in their stride with their debut full-length outing 1823.
Before we even begin to dissect and analyse EMBR‘s debut offering of doom, some backstory. The album title, 1823, carries special significance. In the midst of writing the album, drummer Eric Bigelow was given a kidney transplant and the only information he received was that the deceased donor was an unknown woman in the age bracket of 18-23. The album title is a dedication to the donor and the surgeons of Vanderbilt hospital, a wonderful tribute. But once you know the backstory, the more the album unfolds and presents its musical charms, the more you can see that EMBR have allowed their life experiences to bleed into their music; offering something very genuine indeed.
Album opener Prurient is a strong and confident start to 1823. Colossal and hench riffing swings like a metronome, carrying the weight of the band’s sound, whilst vocalist Crystal Bigelow‘s enchanting and inviting vocal deliveries gel nicely with the metallic soundscape. This pattern continues for the bulk of the song’s runtime, and whilst impressive, the band really showcase their potency for emotional melodies as the heaviness subsides into a gorgeous passage of play where an explosive build unleashes Crystal‘s true vocal potential. It’s absolutely stunning and demonstrates the impressive range within the band’s repertoire.
As 1823 continues to unveil its many layers, you get the feeling that EMBR really do have a deep and well-constructed soundscape to explore. Where I’ve Been dials up the heaviness as the doom-driven guitars hit all the more harder, allowing Crystal‘s vocals to sound almost-ethereal in nature throughout, although the surprising death-doom snarl at the track’s closure is somewhat out of character and a little bit jarring to hear at first. Stranger, on the other hand, is a much more lighter affair with the band’s heavier edge taking a backseat to allow Crystal‘s vocals to take centre stage amongst a bedrock of intricate guitar-play and gentle percussion in the song’s earlier moments before exploding into a soaring passage that really captures your attention as you sway to the music in harmonious rhythm. Three songs in and it’s clear that EMBR are a special breed indeed.
In truth, EMBR rarely allow the immersion to be shattered through a misstep or miscalculated decision. It feels that every musical component, every passage and every emotional experience has been finely-tuned by the quartet; allowing 1823 to feel truly organic. The way in which the band experiment and play with mood is key to allowing the album to wash over you so effortlessly. After the moody and mid-tempo movements of Stranger, Powder comes flying out of the gates as the band sound their heaviest on the entire record as gargantuan riffing and vicious vocal snarls catch you off guard but works remarkably well in the album’s track placement, Eyes Like Knives boasts one of the best closing moments on the record whilst album closer Vines ends the album on a strong note thanks to its slick grooves and intertwining vocals of growls and cleans.
Given the sheer amount of quality on offer here, you’d be forgiven for thinking that EMBR were presenting their fourth album, not their debut full-length outing. The juxtaposition between outrageous passages of sheer heaviness and fragile tranquillity works so remarkably well, there are moments where the outpouring of emotion is so overwhelming it will leave you stunned and in Crystal Bigelow, the band possess a vocalist of true quality. With 1823, the band have flown at the gates confidently and this release should certainly announce EMBR to the world of doom and beyond.
Rating: 8/10
1823 is set for release on July 17th via New Heavy Sounds.
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