Review Summary: Featuring sci-fi, dreamy synths mixed with chaotic and harsh riffs, Coraxo’s second album tries to give a breath fresh of air to the usual melodeath recipe.
Complexity, high technical proficiency and novelties are nutrients that have been ingested by many new metal groups, as well as have been elements that we often appreciate, since every day the compositions become more difficult both in execution and in memorizing. In death metal area, presenting innovations has become a musical competition in order to stand out from the rest, and certainly offering something portentous, pretentious and cutting edge ends up giving you one of two results: success or failure. For the sake of innovation and the search for a unique sound, musicians usually experiment with unconventional sounds or instruments. With a sound strongly reminiscent of
Sunless Rise’s debut, early
In Flames and especially
Dark Tranquillity, Finnish duo Coraxo was unveiled in 2013 offering an attractive combination of hi-tech synths, thumping riffs and menacingly harsh growls.
The duo formed by Tomi Toivonen (vocals, guitars and keyboards) and Ville Vistbacka (drums) is certainly not reinventing the wheel, rather making little touches upon what has been proven to be successful. This is very evident on their new release
Sol, which presents more of that progressive melodic death sound we’re used to with some experimentation thrown in, with noteworthy results. Interestingly constructed, from the unexpected sax solo by guest Ilkka Ferm on ''Of Stars Reborn'' to the clear guitar solo on ''Helios'' (courtesy of Armageddon and ex-Arch Enemy guitarist Chris Amott),
Sol sounds like it wants to be big and epic from start to finish. Featuring a considerable amount of collaborations, Coraxo isn’t afraid to try everything. The intense soundscape fabricated constantly varies from menacing and loud guitar sections to spacey and heavenly passages provided by the keyboards and the occasional addition of clean vocals.
The keys don’t sound forced or annoying, as they incorporate pretty well with the band’s relentless attacks and provide more joy and life to the songs. ''Satellite'' is the quintessential example of Coraxo’s tasteful instrumental approach; incorporating plenty of colorful keyboard lines and flashy grooves, it provides a futuristic and spacey atmosphere that really engages the listener into the music with ease and efficiency. This polished sound is welcomed again in a more atmospheric fashion on ''Revenants'', where the inclusion of clean vocals is very welcome and reaches its peak. Featuring Human Debris’ Elena Cor Tauri on vocals, her warm and subtle singing backed up by all kinds of dreamy synths offers a calmer and crystalline vibe, and instrumentally the song showcases Toivonen’s abilities to deliver driving riffs from the get go. The instrumentals on
Sol aren’t exactly the most complex or surprising you’ll ever heard, but they are tight and do a reasonably fine job of filling some of Toivonen’s harshest vocals on ''Helios'', ''Sacrifice Made'' or the slower, ominous and destructive closing ''Spearhead''.
While an overall pretty good and interesting record, there are just a few small spots that could’ve been worked on a little more. Production and mix aren’t the best, and considering the dense style of the music, the metallic dirge of the guitars may overwhelm the listener at first. In addition, when listening to the whole album for the first time, one could get the feeling that
Sol is a little disjointed and rushed, mainly because of the way some songs end or transition. There’s the case of ''Of Stars Reborn'', which ends abruptly and unexpectedly, giving the impression that something was left unfinished. Another notorious case is the transition between the atmospheric ''Revenants'' and the upbeat, futuristic and sing-along ''Ascension'', with Nikke Kuki on vocals. It’s not that they are poorly executed ideas, but it’s in this sense where
Sol feels more like a lab experiment than it does a clear vision, and it can leave a bittersweet impression to some.
These relatively small complaints aside, Coraxo’s second effort is still a very good album that offers a solid amount of attractive melodies and atmospheres to the listener. The greater variety of musical arrangements and ideas has helped the songs greatly, and while they don’t always work out as well as they could, it still makes for an intriguing, entertaining and colorful listening experience. Fans of their past work
Neptune shouldn’t be afraid to get this, as much of what made it great and interesting returns here once again. Those unfamiliar with the band and may be looking for a new metal group to listen to should also give this record a spin; the band’s tasteful blend of instruments almost guarantees something to be enjoyed by every melodic death metal fan.
