Review Summary: An absorbing and genuine collaboration that reinforces the consistency of both artists.
Cult of Luna and Julie Christmas are both known for having their own defining qualities. The former has established themselves as one of the most consistent post metal bands in the scene, by adopting thunderous walls of sound that are synchronously destructive and profoundly pensive. Julie Christmas’ voice is as impressive as it is diverse. She exudes a distinct, eccentric way of singing that slithers from vicious snaps to floating cries that remain the trademark feature of the noise/alt rock projects she has been a part of; predominantly Made Out of Babies.
“Mariner” is a collaboration that fuses these two particles together in a way that progresses both artists’ sounds. Coincidently, Cult of Luna’s evolution in “Mariner” is mainly down to the presence of Julie Christmas, as she adds a dash of variation to the Swede’s monochromatic style. During ‘The Wreck of S.S. Needle’, Cult of Luna demonstrates their predictably tentative, sludgy riffs which took precedence in past albums like “Vertikal”. However, it’s Julie’s eccentric contributions that give Cult of Luna new definition. Her textured vocals evoke contrasting feelings, from bliss to anxiety, creating schizophrenic feelings that Cult of Luna would ordinarily avoid.
The balance between both collaborators on this album is perfect. Rather than one artist taking superiority over the record, it genuinely feels like a true partnership, and both artists’ divergent styles only strengthen this. ‘Chevron’ sounds the most equal, with regard to each other’s involvement. The song largely features Julie’s quirky singing that warps back and forth from girlishly infantile to confident, coherent shouting, yet enough space is reserved for Cult of Luna to illustrate their mellifluous grooves and luminous electronics. Despite its 15 minute duration, ‘Cygnus’ also nails this balance, as well as maintaining a level of interest that keeps you drawn into their vivid imagery. Johannes and Julie bounce off each other’s vocals, the former focusing on creating an aggressive performance while the latter maintains an innocent demeanour. Through a wormhole of whirling melodies, brooding interludes and cataclysmic vocal performances, the two forces find a surge in energy and join together in grandiose fashion, ending the album with an astronomically high climax.
In keeping with Cult of Luna’s decision to base each of their albums around a certain theme, the concept of “Mariner” is space exploration. Other than relying on symbolic and thought-provoking lyricism throughout the album, Cult of Luna develops an expansive environment in every song. The expanse in ‘Approaching Transition’ almost seems to be limitless as this song has all the staple ingredients of a post metal song: timbre guitars, undulating bass, a hypnotising rhythm and beautifully haunting clean vocals from Fredrik Kihlberg. When blended together, Cult of Luna creates an absorbing atmosphere that drifts on peacefully through the galaxy. At 13 minutes, it does drag on a bit, but thankfully, Johannes steps in to wake you from your coma. The ominous concept of space is also explored through simplistic instrumentalism, illustrated at the very start of the album. ‘A Greater Call’ commences with unrushed and drifting melodies that create a spacious environment that allows each note to blossom before the ensuing sludgy riffs.
“Mariner” is an absorbing album that requires multiple spins to discover the true extent of what it contains. Cult of Luna presents Julie Christmas with the vibrant palette of feelings that only they can achieve and in return, she offers them a fresh, stellar vocal performance that progresses their melodies to an increased emotional intensity and sonic eminence.
