The Arcane Odyssey

I can't get enough of this band. Sear Bliss is just fuckin amazing band and they have created such a great number of killer albums that most of these more popular black metal bands would dream to have. But Sear Bliss is Hungarian, not Norwegian, and they recorded albums for small, not mainstream labels, so they never got enough attention. This just has to change, I hope that my short reviews will help you recognize this fantastic band!

Well, after shredding my ears with the glorious fifth album "Glory and Perdition", I started to listen to "The Arcane Odyssey", released in 2007. I have to be honest, I didn't give this album enough attention, when it was released. I did buy it, I liked it, but the enormous dose of music made me forget about it a little. This week though I've played it 20 times I guess, maybe even more... and it's because I love Sear Bliss' music and once again I have to say that this is simply a phenomenal record. From start to finish it is filled with killer songs, where the band takes atmospheric black metal to new dimensions by fusing harsh, vicious black metal with epic sound of the brass section and keyboard's mystical background. Great thing about "The Arcane Odyssey" is that despite being Sear Bliss' sixth album, it still sounds fresh, is filled enormous dose of great ideas and truly magnificent arrangements. Songs on this album seem to be a bit slower than those from "Glory and Perdition", with slow and mid paced sections dominating, but that only creates a more monumental and bombastic feel. Damn, sometimes I can even call it beautiful, why not? Yet, the music sounds powerful and strong, with not even a slightest sign of monotony, boredom or repetitiveness (especially when they add such to "Path to the Motherland", which is so different to the usual Sear Bliss material), with songs that are little bit longer than previously (such "Blood on the Milky Way" is over eight minutes long, but just check how rich in ideas and different parts this track is). Every song is great, each offers something unique and truly memorable, brings attention and amazes me. It seems like anything this band does, they turn it into gold. I do not exaggerate, I truly believe these words. And I dare to say that Sear Bliss is among the best European black metal bands, if you don't believe me then get their albums and give them a good listen.

I like the consequence with which they compose their albums - why change something what works so damn well and what sounds like Sear Bliss, not any other band? Sear Bliss didn't feel a need to "progress" and change too much. They created their own style and sound and had enough ideas to evolve within them on six albums (well, seven if we include "Eternal Recurrence"). Absolutely essential stuff.

Standout tracks: "Blood On the Milky Way", "A Deathly Illusion", "Omen of Doom", "Somewhere"
Final rate: 90/100

To tell I was never (and still am not) very into black metal. I had listened to a couple of classics like Bathory and Graveland but I never really got to the underground. I first heard of this way back in the day when I still scrolled trough Myspace's metal bands to find new music (yes, that way back in the day), and I must admit, for someone that had never heard anything heavier Iron Maiden, I was hooked. The minute I started listening to "Omen Of Doom" I just couldn't let go of that song anymore. The atmosphere was so dark and intense and the song so heavy that I just had to go buy this album.

When I finally found this album I immediately put it in my stereo and I was yet again surprised. The intro for "Blood On The Milky Way" made the album get such a strong start followed right away to one of Sear Bliss's signature trombone solos. That's right trombone solos, and they're so well placed and executed that you just know right away you're dealing with an high caliber band.

There are only 3 songs on this album under 5 minutes which means there is a lot to like for fans of epic songs. Speaking of epic that is the best adjective to characterize this album's atmosphere (along with dark, intense and heavy). Sear Bliss manage to get an almost perfect balance between atmospheric melancholy and sheer heaviness. They also manage to get a balance between heavy distorted riffs and acoustic parts. The prime example of that would be "Lost and Not Found" which is my absolute favorite from this album, having one of the catchiest intros ever made.

I must say that if it wasn't for this album is still one of my favorite black metal albums of all time and I found very little not to like. No black metal (or any metalhead) have their life full filled without ever listening to this band and experiencing an atmosphere like no other can make.

After nigh unto 3 years of waiting, Sear Bliss have returned with an opus that even outdoes its predecessor, "Glory and Perdition." The time was obviously well-spent in the rehearsal studio as the songs are even better this go-round, featuring more horn parts and even honest to goodness guitar soloing, but more on that later. What matters more is that Sear Bliss have really nailed their sound and have refined it even further on this album to the point of uniqueness--I dare you to name any band out there that uses horns as creatively and as well as these Magyar madmen.

Like the last album, the production is excellent, full and warm without compromising rawness in favor of polish. The guitar sound is still gnarly as hell, reminding you that yes, Sear Bliss are still a black metal band, and as usual Andras Nagy's bass occupies a prominent place in the mix. He is probably one of the most skilled players out there in this realm with his melodic, rambling lines slithering beneath the guitars deftly and carefully. And he fits his vocal parts over them very well, without following his lines too much at all. Even better, the drums sound totally untriggered and I like it! Zoltan's furious pounding only benefits from the drums sounding like hollow objects being hit with sticks as opposed to MIDI samples.

Their long, sprawling songs flow very smoothly and feature numerous tempo changes and dynamics without seeming shoved together. And I really like how the horn parts have come into their own on this album, creating their own melodies that are often completely independent of the guitars and the root notes of the bass and add an additional layer of class and depth to the proceedings. SB's dramatic style only benefits from them and without the horns, it wouldn't be the same. The keyboards are very tastefully utilized too, with lush, ambient sounds that creep up into your ears as opposed to obvious effects.

Opener "Blood on the Milky Way" is an outstanding album starter with a variety of tempos and feels, and a *fantastic* lead break that shreds without seeming too wanky and fits the song well. The soloing is not overused, either, coming in when it's needed and enhancing the songs with approaches ranging from frenzied shredding to melodic and mournful cries that ooze feeling. "Lost And Not Found" starts with a menacing Black Sabbath-like riff with morbid string-bending enhancing the feeling to chilling effect and pummels you hard, as does the ending of "A Deathly Illusion." It sounds like they're tuning down lower on this album, too, and this is not overdone, either. Their taste and restraint is admirable. And album ender "A Path to the Motherland," starts with a folky flute melody that recurs throughout the song. This is to my knowledge the first time SB have used any kind of folk influence in their music and it actually works well.

Long story short, this is excellent and unique. Sear Bliss deserve your time and money and I say give them a shot. You will only benefit if you give this album the time it needs to sink in to your mind and DNA. Don't expect cookie-cutter sameness, expect depth and originality, a hard thing to pull off in this genre. But they do it and they do it well. Sear Bliss merit my high praise, and that doesn't happen as often as you'd imagine.

Welcome to a journey into space itself in which its divinity is formed by progressive components and blackened chaos: Sear Bliss’ “The Arcane Odyssey.” Externally mighty and internally filling, Hungary’s metallic frontrunners once again apply their signature formula of conjoining elegance and evil; two separate worlds that flawlessly connect into one special entity of supreme distinction. A galactic quest in which Sear Bliss rewrites the rules of experimental metal is found within “The Arcane Odyssey,” and the trip is very exciting, believe me.

Though containing common black metal qualities, “The Arcane Odyssey” shows a neat shape of Sear Bliss’ own originality mixed in with several usual endowments. As expected, Sear Bliss preserves their blackened roots intact with epic tremolo picking sections, firing blastbeats, and András Nagy’s graceful shrieks, yet the use of beautiful clean guitars and majestic keyboards add to the already-mighty picture. But don’t fear for too much soft stuff, because there are some massive head-banging riffs and solos that just shred your eyeballs out of their sockets. The harmony between two separate musical extremes is reached in precise unison, and such a joyous tension is never broken from its state of wonder; this is how black metal and empyrean moods are supposed to wed.

During the voyage, Sear Bliss keeps the ride interesting with the band’s hidden weapon that seems a bit odd at first, but ends out working excellently: the trombone. Zoltán Pál‘s strange position in Sear Bliss is not that of a clueless musician hitting symphonic notes, but rather an individual that can intelligently wrap the trombone around the harsh guitars and ethereal surroundings superbly. The thing is, however, that the trombone takes absolute control of Sear Bliss’ music whenever the master permits its freedom: you’ll be enjoying a cool riffing section, and then a blast of brass just explodes like no other instrument. It’s truly a unique experience that needs to be heard to be believed.

Overall, I’d say “The Arcane Odyssey” is a fantastic CD with countless incidents of atypical independence and atmospheric delight. There really isn’t anything potentially negative here at all; everything is solid as a rock, and the consistent display of cosmic instrumentation definitely make this record a capital idol in Sear Bliss’ discography. Those looking for something outside the musical norm will most certainly appreciate “The Arcane Odyssey” and its metaphysical significance as a black metal recording unlike most of the genre itself.

When a black metal album presents trombones, trumpets and euphoniums, one may think that why not also recorder, played with strong distortion. Sear Bliss has shown that instruments which are not widely used in metal music are an excellent addition to their music. The Hungarian band has not reached further notice in my eyes, even if I have two of their earlier albums in my collection. The Arcane Odyssey, the sixth album, does, however, surprise me in a very positive way.

Overall sound is very powerful, and the balance between instruments is excellent. The album does not even try to be any groundbreaking effort, and music is kind of safe and familiar symphonic black metal. The power of the album is the strong atmosphere in songs. Atmosphere actually sneaks into one’s mind insidiously, surprising the listener. Here is also where the brass instruments come to picture. For example, in the second and sixth song, A Deathly Illusion and Omen of Doom, the brass instruments add great deal of depth into the music and atmosphere. Also the vocalist András Nagy manages to capture the moods perfectly, His voice is raw but not too monotonous.

The structure of songs works well, excluding a few parts. Stronger guitar riffs could be used, but it is ok this way too. Despite the strength of mood and atmosphere, the overall touch is little too light. Some songs also have some too familiar tones, which are mildly distracting the listening pleasure. In all, the strength of the album is in its entirety, which works really well.