Review Summary: Vampire: Dark Fairytales for my Valentine
Italian symphonic melodeath band Genus Ordinis Dei have taken inspiration from the notable 1993 vampire chronicles “The Book of Nod” for their fifth full length “The Land East of Eden”. Mirroring the scene set in the Old Testament Book of Genesis, the “Land of Nod” lies “on the east of Eden” where Caine was exiled by God after Caine had murdered his brother Abel, hence the title of this record.
As a concept album about Caine the first vampire or opera as described by the band themselves, there is a story running sequentially through all tracks so is best listened to as a single piece. And without the spoken preludes like the opening “Triumphant”, the story falters however the metal songs herein are the real triumph of the record.
In truth it only took 30 seconds of the first song “Sharp Things” to pierce my neck and imbed an interest in the album, to be assured this was likely a continuation of the hooks and interplay found on their previous LP “The Beginning”. This is the introduction to Caine upon his shameful arrival in Nod which is put to a melodic but aggressive tone in the vocal register and guitars. Opening with a decidedly catchy bounce, it then deservedly descends into despair, a fate fit for Caine. The banished Caine is then met by his female counterpart Lilith in the “East of Eden”, who “came as water in the desert” to impart her dark crafts towards a gothic romance, the music a combination of sparkling modern Equilibrium style melodeath and heavier pulsating chords.
Genus Ordinis Dei (Latin for “Origin/Stirp of the Divine Order” with the acronym G.O.D.) are a 3 piece from the historic city of Crema with Tommy Monticelli (guitars, keyboards, orchestrations), Nick Cadregari (vocals/guitars) and Nico Pedrali (drums) and are joined by guest vocalist Roy Khan (Conception, ex-Kamelot) on the invigorating “Sweet Magick” with Khan introducing a power metal side to the opera which keeps intrigue high. To tie this collab centrally into the story is a risk meets reward illustration and sees G.O.D. engender a new level of progression into their music.
The chambered whispers in the “Abyss” bursts into “I Am Wretched, I Am Proud”, a symphonic death metal stomp not unlike Septicflesh who creepily have their own blasphemous amalgam “The Vampire from Nazareth”. Here Caine is morbidly self-resplendent to the epic soundtrack of orchestral backed melodeath.
A new epiphany awaits Caine in the tribal “Awakening”, supplying another theatrical twist loaded with moments and momentum, as is “Immortal Love” which carries through flashes of eastern folk gleaned throughout the album. Once citing inspiration from Gojira, Lamb Of God, Insomnium, Dark Tranquillity, Periphery, Fleshgod Apocalypse and Dimmu Borgir, there’s a sense of powerful spectacle central to their concept albums and “The Land East of Eden” runs true to form.
Here G.O.D. have elaborately brought “The Book of Nod” to life and are clearly well versed in character development. In the finale, the crone in the story evilly beckons in the prelude “Treason” before the last song titled after her blasts through like a deathly gale to leave a lingering spell over the listener. Hope fades further in the wind swept footsteps of Caine’s final lament with a plea to “carry on my kindred, For The Hatred Continues Still”.
