Evadne - A Mother Named Death (2017) – The revitalizing sound of grief

From Valencia, Spain Evadne releases the third studio album that plays a melancholic doom metal. "Mother Named Death" follows the band's standard rule of propagating long, cadenced, submersive songs with frugal gothic appeal in the melody.

Evadne reinforces their modus operandi in each new release. The vocalist Albert with his guttural vocals distort the sonority for a vocation more death metal style, but without exaggerating in the extremism and in  a slow doom cadence. The gothic appears in the incursions of vocal serenity and clean strings associated with the subtle piano. When the clean and atmospheric Abode of Distress evolves rapidly to the oppressive, perverted weight the first thing noticed is the melody consonant with the sickening bitter theme. In no way this is purified by the gothic influence, on the contrary it exposes the fragility of funerary somberness exaltation. The distortion of the doom pulse alternating with the climatic clean mood in each song is made subtly, it respects the hypnotic submersion of the listener, avoiding the startle, see the construction of Heirs of Sorrow, simply spectacular. In instrumental 88: 6 theatricality reaches its climax with the atmosphere created in the ascending piano, opens up the last part of the album with the heavy but still sentimental Black Womb of Light and the lugubrious The Mourn of the Oceans.

Listening to Evadne is to enter a beautiful putrid-dying garden, putrid not in the sense of glamorizing the morbid, honoring the macabre. The pestilent beauty is mournful and impotent, crushed under the perplexity of a sorrowful misery. That´s the magic of Evadne, they makes us feel extremely alive.

Tracklist:
1.Abode of Distress 09:30
2.Scars that Bleed Again 08:27
3.Morningstar Song 09:34
4.Heirs of Sorrow 08:29
5.Colossal 08:42
6.88:6 03:27
7.Black Womb of Light 07:51
8.The Mourn of the Oceans 08:10

Final conclusion:

Marcelo Hissa