RELIQUIA (GOTH DOOM, REVIEW) - IN THEORY AND PRACTICE (INDEPENDENTLY RELEASED, MAY 11TH)
Welcome again to another presentation from the bog. This time, something quite spectacular was thrown our way.
1. Caesar, Bejwelled begins with a lead intro softly
setting the tone and atmosphere for the track, which Gregg Neville’s vocals
then join to strengthen it further, serving as a clean story telling arc. The
track transitions with heavy lead riffs to formulate the mood and feeling
further whilst Gregg’s vocals transform into a harsher approach. Think a slower
vocal version of black metal, or unclean fronted sludge, or unclean
darkwave, and it's pretty much the style when it moves away from the gentler
vocals to demonstrate the despair and anguish for the listener.
The drum tracking is very good, which was one of the notable qualities Bog caught through
the album. Bog could hear the timing, practice, numerous takes, etc, that have been invested into
maintaining a solid running supporting function, which makes the track as much as
the riffs, along with the obvious stellar vocals. Stressing again, its just undoubtedly apparent In Theory And Practice wasn’t done in a day, and the guys wanted this to be an album that would catch
the listener’s attention, and reach into the goth community outside of metal.
Vocals are performed very well and move between clean and
harsh nicely, they don’t feel forced and Gregg feels at home doing either, so
obviously has been in both clean and harsh bands prior to Reliquia. The guitars function to introduce and end each passage, which speaks
volumes to how Caesar, Bejwelled has been built and arranged. No sloppy
placements. The timing and patterns ensure it flows sonically.
A powerful somber opening with mood, gloom, and tone across areas
from instruments to vocals. Bog is only talking about the first track and he is
already sat in the swamp with a stimulated imagination revolving around
castles, cloaked figures, romance, and a questionable person in the corner
threatening to strap me in a chair to force me to watch golf for 157 hours, if
I don’t proceed to the next track. Point dually noted.
The outro fades out nicely with the same intro feels on
the guitars and haunting clean melodic vocals, presenting a chorus of those hooded
like figures echoing forth and reverberating around a castle.
2. Temple Terrace is one of Bog’s favorite tracks
from the album. He has 4 favorites from the 6, not bad huh? Another balanced
track across its construction and arrangement.
The intro builds with a nice use of synth mixed with the drums,
lead guitar, and a bass line patiently beckoning the coming transition and drop. It would be a cool
part to use to open up a set or halfway point and gradually increase the volume on the build, then use the drop to wake up the room to hook people in, which is how Bog’s ears listened to the start
of Temple Terrace. An excellent way to generate tension and set the hook
mentioned to catch people at about 25 seconds in.
The clean vocals follow with the opening verse accompanied by a
serene ethereal melody from the guitars, which become louder as the track
progresses. Bog really enjoyed the build with this track and how the flow was
set up. The vocals, when they transition to the unclean, they like another
instrument. Some folks may listen differently to Bog, but it's like dropping
an acapella on top of another track during a mix, then once the desired effect
has been done, it transitions back to the clean vocals.
The outro, another area we hope isn’t overlooked, because it has a good synthy closing section. Bog appreciated and enjoyed the use of synth again for the outro. Added a memorable moment for the mind's muscle memory, sot it wants to revisit. The drums again showcase tight production on the track. Musically, very gothy doom with melodic passages, and solid bass lines, and also an emotional solo towards the latter stages.
3. Crestfallen is Bog’s next favorite from In Theory
And Practice, which has other influences for the keen ear surrounding the
clean vocaled introduction, then there are familiar aspects in the harsh tones and
supporting instruments. It’s a haunting beautiful goth doom track, which once
again has the drums signals the start and end of each passage in the
track. The bass is good and lead guitar also. Another example of a patient build to
set up a flow to hit the listener with the feelings in both the vocals and guitar
tones. Production is tight and woven nicely. The synth also shines through, particularly
during the opening sequence, which Bog feels interjected the mood for Crestfallen. The other aspect to mention, The vocals don’t feel strained or exhausted transitioning between clean and harsh. They are not sounding tired or bored. Bog saw a band once, vocalist appeared like he wanted
to go back to bed. Was an experience, but yeah let’s not go further down that
rabbit hole.
4. Bone and Shale is another of Bog’s favorites, and is a special one, really
special. Before focusing on the audio, instruments, etc, what an emotive track
this is guys. Bog can hear the horror within parts of the lyrics “they are coming from you”, which
could be interpretated in so many ways from struggling with mental health and hearing the voices through the fog to paraphrase a line from the lyrics, or could be traditional horror aspects. The other dominant theme coming through
is the sadness, utter deep unrivalled sadness. Bog would guess this is going to
powerfully impact many listeners, causing them to self-reflect, or think of
those close to them. Yes, it could be Bog’s over active mind, but you really
can hear the feeling in Bone and Shale.
Musically, another powerful gothy doomy track full of emotion
starting from the synth intro, which is quickly followed by the guitar and drum
drop, then vocals follow, which are kind of between clean and harsh at the
early part. Story narration aspect, then another memorable line from the lyrics “you hear those voices, through the
fog”, which are clean and quieter, before the chorus chimes in again “they are coming for you”, which are
harsh to reinforce the horror with another clean repeat. The medium dual tone
returns to sing the words “Bone and Shale”.
The riffs, bass, drum tracking, and production equally heighten
the feel to hit a home run for Bone and Shale, and there is another
memorable outro effect. Imagine steam coming from a manhole cover in the city
at night, it slowly disappears. Musically conveys that imagery whilst
listening. Quite an incredible song and Bog rates it highly.
5. Interlude – Bog guesses some will skip the interlude
and just ignore it, but we are still going to break it down, because it does
set the feel for the closing track. A very cinematically composed track,
stimulates the imagination again, and could easily be a score, or the soundtrack for an audiobook regarding a particular eventful part. Shamanic chants
would drop nicely on the interlude, it reminded Bog of Neo Folk, a genre yet to appear on the blog.
6. Give – And here we are, Bog’s favorite of the
favorites, full clean vocals. Bog is no anti unclean vocals, see our Brutal
Death Metal reviews. Give is the special of the special from In
Theory And Practice, and is a track Bog knows he could drop in a goth set with
no problems. It’s a banger and what a way to close an album. The goth rock
track from the album, it’s fire. If any of you land in our swamp, I’ll say ‘you
are not leaving until you listen to this track, or I’ll serve you one of my
sandwiches in the vein of how Bog would write, if it were a death metal review.’
Give has a catchy chorus with solid riffing, solos, and pace
interchanging expertly between each transition, slow, mid, quiet, loud, etc,
and Bog caught the drum drops to signal the changes. Reliquia do not
feel nor sound like a band/artist just going through the motions. There is a
feeling here, which Bog has tried to emphasize. The drums again, Bog was
counting along, the bassline in the background with the lead riffs on top. There are no
broken parts and it's glued together superbly. The subtle guitar drops whilst the
chorus chimes in, drums building the next section. Is it ok to say Bog was a
lil stoked whilst listening? Clearly obvious isn’t it, laughs.
Bog would highly doubt anyone would be remain still when
this banger drops. So, Bog has to attempt to close this up, no pressure
huh.
Rating:
Bog starts with apologizing to two of our contacts whom we know
in the human world, they probably are shocked
to see a review from the unwashed potty mouth featuring no cussing, or words
from the gutter. Bog has taken the liberty to book you in for some therapy to
recover. Don’t be frightened, the full bile will be back for the appropriate genre.
In Theory And Practice is a special album, really
special, and is worthy of your time and ear. When an artist has taken considerable
time to ensure each area stands up, building the tracks into immersive hooks,
then it shines brightly, which is the situation we have with Reliquia.
Instrumentation drops in and out tightly, bass, leads, drums, and the band perform together like a well-oiled machine, but with genuine purpose, emotion, and feeling. This is not bland, soulless, or filler music. Vocally, incredible range moving between clean and the unclean effortlessly.
The clean side
sets the tone, mood, and atmosphere, then the unclean adds the dark counter point,
an innate primal release of anguish, despair, horror, and suffering, which is
the perfect balance to present the other side of the music.
Production is tight, drums especially solid, and the use of
synth opens and closes tracks nicely to make them unforgettable for the ear.
So, finally at the last line, In Theory And Practice is an album Bog has no hesitation in recommending for those who appreciate well crafted music. Do not pass this album by.
Line-up:
Gregg Neville – Vocals/Synths
Tobias Gray - Guitars
George Kal - Guitars
Karim Nasher - Drums
Bass on In Theory And Practice performed by Andy Lindley
https://www.facebook.com/reliquia/
https://reliquia.bandcamp.com/album/in-theory-and-practice
