CD REVIEW Chaosweaver

Band: Chaosweaver
Title: Enter The Realm Of The Doppelgänger
Label: Napalm Records
Distribution: Rough Trade Benelux – Tone Entertainment
Release date: June 29th 2012
Review: CD

Chaosweaver are a young Finnish formation that call their style on their Napalm-debut Enter The Realm Of The Doppelgänger ‘Cinematic Extreme Metal’. Whatever…
Stupid and nugatory at first sight, yet again, maybe not that hollowly defined?

The band did record some mini-stuff before (demos and singles) and a longer effort, Puppetmaster Of Pandemonium (2008), but until now they weren’t able to reach an international status. The signing to Austrian major Napalm might change things, yet again it depends on the qualities of this album (along with the promotional duties, of course).

In general, Enter The Realm Of The Doppelgänger seems to go further where Puppetmaster … ended. The album opens with a piano-intro, A Red Dawn Rises, a nightly opus with spoken words, fairy-like voices and floating keyboards, setting the right initiation for an obscure album. Wings Of Chaos appears as a grim and theatrical Black-edged Metal epic, flirting with symphonic and gothic Horror-themes, and based on a fierce and fastly-pounding rhythm. Next song, Maelstrom Of Black Light, is comparable, yet it’s less speed-up and somewhat groovier. The Great Cosmic Serpent is even catchier than its predecessor, yet still injecting Cradle Of Filth-ish blackened Metal with Neo-Classic, Gothic, Electronic and Symphonic elements in the vein of the Italian scene. And this way it goes on for almost fifty minutes, Dark Metal with a vampiric and absinth-influenced atmosphere, Sonic Art as if it were a soundtrack for some horror-movie – and here we come to the definition the band and the label give to label this music: ‘cinematic’…
I need to mention the nice Doom-effort in A Requiem For A Lost Universe, which is, in contradiction to the rest of the songs, not that repetitively-rhythmic yet rather obscure; and Ragnarök Sunset, even though not original and slightly predictable (yet nicely performed for sure).

Pros: the variation in (almost) each song, the grim spheres of occult movies, and the few outstanding passages.
Con: especially the enervating bang-bang-drum patterns, and the addition of too many clichés.

For fans of: Cradle Of Filth, Carach Angren, Moonspell’s earliest efforts, Samael’s early-2000’s-era, Italy (Ensoph, Theatres des Vampires,  Lord Vampyr, Graveworm, Tronus Abyss) and Dark / Horror / Power / Black Metal in a mostly open-minded way.


Ivan Tibos.