Angel's Cry

Its difficult to understand why bands like Geasa don’t get much coverage in comparison to bands like Primordial, who’re the darlings of Irish metal because to me, they produce a sound more fitting and likeable than that of any band in Ireland, including the highly rated Primordial. I’ve never been a big fan of Primordial myself, only listening to them on occasions and finding myself a bit turned off when it comes to their music, but Geasa give the listener a look at something much more interesting and representative of the kinds of talents that seemingly lay hidden behind the lacklustre mainstream side, or as mainstream as it gets. Peel away the covers from your eyes, wipe away the dust and look beyond the accessible mainstream style and you’ll find bands like Geasa circulating the underground with a sound more passionate and driven towards success than any other band you’re likely to hear from the same scene. Though I’m not normally a fan of nationalistic music, this Celtic act deserve recognition that they don’t get simply because they’re from a scene which doesn’t boast the biggest selection of bands over a wide ranging amount of genres. Long may records like this continue to be produced as finely as they are.

The vocals come in several forms, using different methods in texture to portray the contrasting lyrical themes of anger and pain. The dual vocal style suits Geasa well and affords them a certain manoeuvrability that other bands strive for but cannot command as powerfully as Geasa do. ‘Dannu’ is the perfect example of such an occurrence. Harsh backing vocals, clean leading vocals which remind me of bands like the fellow Irish act, Mourning Beloveth, who draw out some of the most sombre soundscapes through their vocals alone that I’ve heard within their sub-genre. From clean chants, reminding me of the sullen vocalist of Australia’s Virgin Black, to the more expected but not as commonly used variation in rasps. The vocals take different shapes and it works well with the instrumentation, which also contains a varied playing field littered with electric acoustics and superb percussion which continues to avant-gardé experimentation theme well. Songs like ‘Rite of Passage’ continue these experimental themes well by introducing stunning bass lines, alongside semi-acoustics and varied vocals. The fact that Geasa use an abundance of instruments to contort the black metal sound to their own personal liking is not daunting in the slightest. The experimentation and its high levels of intoxicating creativity is welcomed with an embrace of love and warmth, despite the sad undertones and slightly cold feel the emotive side of this record enforced upon the listener.

Its difficult to tell where the influences for this sort of music come from, but one can certainly suggest bands with a similar sound. Bands already mentioned, like Mourning Beloveth and Virgin Black seem to be the obvious choices (especially when considering those long epic passages on guitars, of which there are two, of varied percussion and inspirational vocals - most notably the clean vocals), but simmering beneath the surface is similar sounding instrumentation and a construction of songs akin to bands like Iceland’s Potentiam, whom I have grown very fond of recently and even more subtle than that - Anathema. The emotional side to this record is similar to Anathema’s early doom metal work, particularly ‘The Silent Enigma’. The vocal work, which is stronger than that of Vincent Cavanagh during his early days, is emotive in a powerful and possessive way much like that of Vincent, but with more emphasis on feelings. A lot of the brooding atmospherics, which draw at dark poetic themes, remind me also of Anathema, mixed in with the consuming experimentation that Potentiam display within their own music - particularly on keyboards, with those stunning soundscapes that they produce blended in with the harsh rasps of the vocalist like a cocktail. These varied comparisons don’t really do Geasa justice because their sound is so uncommon and outspoken that it deserves to be heard, not talked about. However, the only way of getting this record’s existence known, unless you happen to stumble across it, is by reviewing it. There is even a small dosage of Agalloch sounding material present here, which also came as a shock. The intro to ‘Dannu’ reminds me of Agalloch with its simplistic electric acoustics, slow and progressive drums and awesome vocals. The ever merging sounds, that can be compared to a number of experimental bands, is a joy to listen to.

Bands like Geasa are important to the genre because not only do they give it a new façade, they influence many of the bands within their own country and become important national figures, as well as global innovators, which spark revolutions in the underground, uprisings amongst the discontented fans of a beleaguered genre, giving young and talented musicians the opinion that they themselves can create music as good as this. Newer bands on the scene like Altar of Plagues are a good example of how important influences like this are because they take the opinion of the national scene and give it a much needed boost, inspiring others to do the same. Ireland isn’t infamous for its black metal ties, but it is slowly forming a stable relationship with the genre and hopefully, those Irish roots can slowly become absorbed into the traditional black metal sound, producing a new breed of beautiful black metal along the same lines as this. ‘Angel’s Cry’ is more than just a black metal gem, it is a musical gem, no longer obstructed by genre. Alongside the new Altar of Plagues record, ‘White Tomb’, this effort has to be one of the most important innovators in the Irish scene. Due to this effort and the aforementioned one by Altar of Plagues, I will begin to expand my knowledge of the Irish scene shortly and hopefully, records like this will inspire others to do the same and musicians to work along the same lines as Geasa who’re divine. ‘Spansill Hill’ is a wonderful example of the potential this Celtic band possess.

Geasa is a vow or an obligation in Celtic mythology, a popular online encyclopaedia tells me. Geasa is also an Irish metal band, which came to my attention from a recommendation thread in another metal forum. The band includes in its line-up members from Abaddon Incarnate and the better known group Primordial.

”Angel’s Cry” is Geasa’s debut album, and a very strong debut, at that. Album brings to my mind Cruachan’s 1995 debut “Tuatha Na Gael”. Whereas Cruachan utilises folk melodies, Geasa leans more to the direction of black metal with growling vocals and fast riffs. What got my attention at first listening was album’s production and overall atmosphere. Production is a bit rough and unfinished, but not in a way that would make the album unlistenable. I don’t like over-produced music at all, but on the other hand garage-like sound is as forbidding. Geasa moves somewhere between these two extremes. Atmosphere in this album is somewhat moody, melancholic and in a harsh manner beautiful. Lyrics deal with Celtic mysticism as far as I understand these poetic narratives.

Songs on “Angel’s Cry” are quite long; excluding the opener and the last song, all last over 5 minutes, the longest being 8:12. This is not a bad thing, I must add, since almost all pieces are well written, well structured and very original. Song material is varied without repeating itself, and listening doesn’t get boring at any point. Band uses two guitars to create a massive sound-wall, and keyboards support the effort. Multi-layered guitars remind me of Primordial occasionally. Only occasionally, mind you, it’s not possible to compare Geasa to Primordial because both bands have such a unique sound. Keyboards stay in the background for most part; only in one or two songs they employ a more prominent role.

Band uses two different kinds of vocals, pure and growling. The variation between these gives added texture and deepness to the songs. I like many bands that employ two vocalists, be they both male or other male and other female, and Geasa doesn’t disappoint me in this aspect, either.

Opening track, “Tuatha de Dannan” is an instrumental that sets the mood for the whole album. Piece begins with keyboards and some strings, then guitars and drums join in and you’re off to a 52-minute journey. “The Last One on Earth”, “Dannu”, “Frozen Queen” and “Where Shadows Are Borne” are all incredible songs, with great memorable riffs and different parts of song joining each other effortlessly. Seems to me that “The Last One..”, “Frozen Queen” and “Starside” are the most black metal-ish pieces on the album, with fast guitar-riffs and blast-beat parts. My favourite song is “Dannu”. It starts with a sad acoustic guitar melody, then others instruments join in and the song is brought to its full majesty. “Starside” doesn’t quite live up to the rest of the material, because the structure is somewhat incoherent and song seems to me a bit - well, fuzzy.

I just can’t give any lower points to this album, it IS that good. Only reason I didn’t give any higher points, is the feeling that they can do even better (and incoherence of Starside). Unfortunately, I am not familiar with Geasa’s later work so I can’t say if they have fulfilled the promise audible on this recording. Anyhow, for a debut “Angel’s Cry” is an impressively mature work and highly recommended for anyone interested in Irish metal generally. Or a bit different black metal.