Angellore - Nocturnes

 Angellore is a Gothic doom/death metal band from France, who formed in 2007.  Their latest album, “Nocturnes,” is their fourth full-length album; they have also released two demos, two EPs, a split album and a compilation.

I discovered this awesome band when I stumbled across their previous album, “Rien ne devait mourir,” around the time of its release in 2020.  It’s been a long six years or so but “Nocturnes,” doesn’t disappoint. 

One aspect of Angellore I’ve always enjoyed is that they are heavy but not aggressive.  Between their usage of death girls, double bass, and a casket filled to the brim with riffs, they still retain this melodic sense of being regal that has always been part of their charm. Throw in flute, oboe, bass clarinet, cello and piano on top of all that and what Angellore has delivered with this album is a Gothic doom opus of towering might.   “Nocturnes,” five songs that are all unique but fit together perfectly. 

 Déhà's production is on fire.  A band like that needs a good mix and sound because they have a lot going on.  Hell, just the three vocalists alone could be a mess for some bands, but they are used smartly and everyone gets time to shine without the need to overpower the others.  Much can be said of the instruments as well.  The two guitars, bass, drums, and keys always work with each other, and the non-metal instruments, in playing off soundscapes provided while setting them up for the next passage.  None of this sounds messy or convoluted—it sounds like a dark, slumberous dream.  

“Falling Birds,” opens the album with a dark folk atmosphere before a blanket of heavy riffs lays like the pressure of brackish waters.  Lucia’s gentle yet powerfully lush vocals pierce through the veil, riding upon storm clouds on high.  I love how the bass is so present, carrying itself in a way that is a journey on its own yet forming the centerpiece of the song when needed.  The death growls aren’t far behind—I’ve always enjoyed the band’s usage of them and they are among the best in the genre right now. The guitars ebb and flow along with the vocals, an understanding of when to pour on the distortion or when to hold back.  

The album offers a twist of some measure with the second song, “Black Sun River.”  This one is definitely heavy on the Gothic doom side of the band, and the more extreme elements of their death/doom side don’t come into play until the last couple minutes.  Deep baritone vocals are the vocal point of the song’s first half—and its catchy chorus.  This one is just under 8 minutes, which is short for them, but offers much.  This one remains a lot of Theatre of Tragedy and Tristania but with their own spin on it.  Around the 5:35 mark, the song ups the tempo and lets the guitars and growls bring their own devilish symphony.

And that’s really what this album is.  It’s a symphony of everything that makes Gothic/Death/Melodic doom so great.  Speaking of great……

……“Forsaken Fairytale,” is perhaps my favorite song on the album.  For me, it really captures the essence of the band and their goals with this album too.  Every element that makes Angellore so special is touched upon in its 11-minute runtime.  The long intro is majestic and folky at the same time, even magically beautiful.  It fades out briefly then comes back but this time with the drums foreshadowing the intensity that is to come.  But this album is about moments and that one, too, shall fade.  But in its place is an emotional clean passage that reminds me of when I first discovered Gothic/doom back in the day with bands like My Dying Bride and already mentioned ToT and Tristania.  At the 6:21 mark, the extreme vocal return and this moment sound amazing to my ears—-from here to the end has to be one of Angellore’s best moments.

“Martyrium,” has a lot of great dynamics.  The beginning is very Gothic oriented like the second song but then suddenly enters blackened territory but you’ll get no complaints from me about this.  It’s one of their heavier moments and it's embraced well.  The middle passage is like a dream or experiencing life on the outside looking at it.  I found this part to be particularly emotive, and it made me feel weird but in a good way.  The music builds back up effortlessly and ends on a rising crescendo. 

The final song, “A Dormant Stream,” is up there with “Forsaken Fairytale,” as favorite on the album—and one of the best songs the band has ever written.  It’s hard to deny the power of the clean vocals and instrumentation that makes up the first couple minutes. The song spirals out from here masterfully.  The second half of the song is darker, the other side of the light that made up the intro minutes. All the vocals coming together near the end is EPIC and a fitting way to end the album. 

From what the press release said, this album was a long way for fans but even longer for the band because they have been writing this album since 2010, piecing it together and recording it all across Europe.  For me, it was worth the wait and then some.  I don’t want to speak for the band, but I have a feeling it was worth it for them too.  The passion put into “Nocturnes,” is evident and exudes from every note.  I can’t think of a reason why fans of this band wouldn’t welcome this new tale into their lives, but I know “Nocturnes,” is going to bring the band many new fans too.   Highly recommended. 

Rating:  Excellent