ALBUM REVIEW: Hermitage – Moonspell

“We know that we are entering the final years of our career as musicians: the winter of our lifetime” is, by any measure, a gloomy way to approach promoting a new record. But when you’re MOONSPELL and you’ve spent near enough the past thirty years first pioneering then continuing to push gothic metal forwards, the sentiment could be considered par for the course. They know they had a good run and are aware that nothing lasts forever; regardless, that isn’t stopping them from pushing themselves creatively. Now on their thirteenth album Hermitage, MOONSPELL are on as fine form as can be expected from a band who not only made the mould but continue to iterate on it.

Opener The Greater Good ebbs and flows with a gradual crescendo throughout until around three and a half minutes when Fernando Ribeiro swaps to his trademark roar as the song reaches its zenith. Common Prayers is a much riffier affair with synths swelling underneath and swirling guitars in the choruses but is followed then by All Or Nothing, easily one of the longest songs on Hermitage and clocking in at over seven minutes. There’s an almost country feel in parts with bent notes on guitar but for the heavier interludes. What could be a cry of hope (“It’s all or nothing / it’s now or never”) is instead transformed into a gloomy, morose mantra that seems more to lament how this is overused to force people to make rash decisions in modern life. 

The final full song on the album, Without Rule, is the second song to exceed the seven minute mark but once again, it doesn’t feel as long as it is. It does everything you’d expect of it from listening to Hermitage at this point; slow builds, atmospheric synths and the changes between sung and harsher vocals, along with the final act being a grand crescendo before fading out. City Quitter (outro) – as the name makes very clear, serves as the instrumental outro to the album. Because of this, however, it doesn’t really add anything new. It feels as if a much smaller section could’ve been used to play out the previous track and close the album without loss of impact – as it stands, this is one of the shortest songs yet drags the most. 

Some things MOONSPELL do exceptionally well are dynamics and their use of ebb and flow. Songs build to a mini crescendo before pulling back and rushing forth once more (The Greater Good, Entitlement) that allow the emotional weight to build and contrast from softer moments before reaching critical mass. Aires Pereira’s bass often grounds songs, providing a foundation for the gloomy atmosphere to build and take root (Solitarian). Their gloom is the weight of sorrow, of sadness, the choice to reject the modern world and retreat within or away from it all. It’s a slow burner that uses emotional weight and atmosphere for heaviness rather than crushing riffs or harsh screams. 

There is something of a dichotomy within Hermitage, though, and it’s in this lack of more obvious heaviness. It’s a very easy album to listen to and can sit peacefully in the background as an accompaniment. Once given focus, however, the dark themes and its morose temperament makes for a harrowing listen. While it’s not music that’s not necessarily meant to be a fun listening experience, it can be a challenging and emotionally draining experience. In the band’s own words, Hermitage is about turning your back on modernity, retreating from it and seeking solace in your own secret place. In this, Hermitage excels and is an honest, emotional album where the focus is on that emotional connection rather than crushing riffs. 

Rating: 7/10

Hermitage is set for release February 26th via Napalm Records. 

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