Stos

Much ado is made of neoclassicism in heavy metal. Perhaps the most staunch supporters of the resurrection of classical music within heavy metal would be ANUS and its supporters (of which I could be lightly numbered among); the Society has done much to emphasize the classical heritage of heavy metal and its recurring themes in this modern form of music. However, even the most staunch detractors of the organization often find themselves agreeing with them on at least this most simple of points: heavy metal owes much to the classical music of old, and continues to derive heavy influences from it, be it as minor as the symphonic elements of Rhapsody (Of Fire, as it were) or as massive as the appearance of 'Für Elise' in the compositions of Necrophagist.

Yet it would be at the same time a significant overstating of the influence of classical if we said that metal was channeling such music in an entirely pure form. Obviously, some level of corruption (a delicious corruption, highly encouraged by me, but a corruption nonetheless) takes place in the imaginative reinterpretation of classical music that occurs in the average metal song. It's rare that you see a band genuinely attempting a true fusion of classical and metal, and the results are often rather detracting from each genre. Metallica's 'S&M' is a popular example of the typical failure of such an experiment; others have commented on similar releases that perhaps the only real way to combine them is to not, keeping the compositions entirely separate from each other within the song. But this rather defeats the use of such a fusion, doesn't it?

Public opinion, of course, is no obstacle for the truly ambitious. And who could better represent such ambition than Poland's L.O.N., working under the name Hellveto? It's not often that one comes across an artist that makes such deliberately obscure music, and yet is so widely heralded by critics across the board. In addition to this, Hellveto embodies perhaps the most profound combination of orchestral music and metal that the world has yet seen, and somehow avoids the pitfall that typically come with such a combination, creating music of startling force, passion, and originality.

The music on 'Stos' is rather more like orchestral music constructed as heavy metal, as opposed to the reverse process that you would see in an artist such as Summoning. Such a comparison to that band is a fair one in how very hostile towards traditional ideals of heavy metal they are; each band is doing something radically different from the mainstream through their incorporation of neoclassicality (though I feel that Hellveto's implementation is superior in this regard). Perhaps an even better way to describe the construction of the music here is that the roles of each class of instruments has been reversed: classical instruments function like modern and vice versa.

There's nothing particularly catchy about this release, nor anything very immediately pleasing to the ear. On first listen, one primarily grasps the complexity and multifaceted nature of the work before truly grasping the melodies, much in the way that classical music must have its layers pulled back to be fully appreciated. The melodies here are epic, but not in a pleasing power metal fashion; rather, they are more archaic, grandiose, aloof and proud and, perhaps the most stirring feature, undeniably elitist! There's not a single moment on 'Stos' where L.O.N. dumbs down his music for the sake of the listener, and one can truly say that this man is playing for himself and himself alone. The rest of us are merely along for the ride.

Similarly, nothing is particularly traditional about this release. Guitars are played between prolonged streams of tremolo picking or fragmentary bursts of power chords, as if they were classical instruments. Drums alternate between more normal blasting sections and strange, dancelike passages, which, despite how such an idea might sound utterly tasteless, creates a stirring contrast, such as on opener 'Daje Wam Swoja Smierc'. Vocals, daringly infrequent, are hoarse screams the fleet in for a short verse before returning power to the music. Side two: orchestral instruments, melodies composed like guitar riffs, and so many of them at once: at least three melodies are present in the song at the same time, and each counterpoints the others brilliantly and without struggle. Similarly, the production is opposite of the typical: metal instruments are typically reed-thin in the background, with orchestra dominating the body of the musical space.

I love how uncompromising this album is. Not a single point is designed with accessibility or hooks in mind, yet its songs retain a place in my mind simply through how powerfully crafted they are. Even the most 'conventional' song, such as 'Zdrada!' and 'Opetany Przeszloscia', those with the strongest resemblance to traditional black metal, are stirring and bombastic. L.O.N. is perhaps one of the people in metal today who embodies the original spirit of black metal so closely: one of full-fledged elitism, carefully crafted music, and indomitable strength of will.

Can you imagine that Hellveto has released three LPs and a compilation, including 'Stos', in 2006 alone? Truly, this is a musical venture that should be praised from every corner of the metal scene. 'Stos' is an album of pure, unbridled musical genius. See to it that you experience it soon.