Overstepping the Verge, Riverain (2010)

[scroogles]

It’s not exactly new, but this 11-track gem is definitely one worth giving a go. Little-known Russian band, Riverain, are a five-piece outfit, sporting the growling female vocals of founder-member Anastasia Ligotskaya alongside four guitar, bass, and drum playing men. That’s where the certainties end. Riverain are a group typically labelled melodic death metal, but they don’t seem to bothered with stuffing themselves into any pigeon holes. “The band’s actual style”, reads their webpage, “can be described as varying from melodic death and modern metal to progressive metal with art rock touch.” Overstepping the Verge is their full-length debut, and appears to revolve around the notion of an epic dream. Russian friends of mine haven’t let me in on any of their national bedtime customs, but judging by the experiences of Ligotskaya and co., they involve some rare and magical incantations. Listeners are transported into a world of vibrant colours and deep textures, which seem to use the full sonic spectrum, from shrill screeches and intricate riffs on guitar to delicate and classy keys. Riverain are without the benefit of full orchestral backing, but their use of electronic sounds are self-conscious and self justifying. From the very start, raw synths pour out, providing harmony and counterpoint to driving drumbeats and crunching power chords. Only in the slower sections of songs like “Madman” do generic strings threaten to devalue the effect. Overall, in fact, the whole thing is extremely well produced. It’s always nice to hear the full, deep patter of double bass drumming in those bands that use it, but the unexpected appearances of vocals twisted from deliberately excessive autotune are a no less welcome addition. A dream, and a right good’un too, by the sound of it. But this is certainly not a concept album. There seem to be a few noteworthy references to a hidden identity, revealed to the dreamer only during sleep, an emotional experience, perhaps, which can’t quite be gained through waking consciousness. Track 4, “Heart of Steel” features the lines “I have a heart of steel in my chest/No sufferings, no ache, no pain to feel”, and this interpretation may provide an explanation for the masks on the album cover. The lyrics are, perhaps, the album’s weak point. According to the band’s webpage, they’ve been translated from Russian. And while the translation looks pretty accurate, its probably fair to say such lines as “Winter wood is dark an perilous/And tracks here are quickly covered in slash” probably sound better in their original language. Angela Gossow-style vocals have probably been done better, too (by Angela Gossow, for example), but Anastasia Ligotskaya’s haunting shrieks have more variety than many death-grunters, intertwining whispers, growls, and other (less expected) surprises. Regardless of the obscurity of its main themes, however, it’s hard to argue with the overall balance of the album. There’s a lot to be said for the good old-fashioned intro-outro combination, and Riverain use their license to the full. In true soporific fashion, we are serenaded into the album’s dreamscape with a few well-chosen words – from what sounds like Mrs. Cleetus from the Simpsons – about having “found each other in the dark” to a subtle backing of guitar and keys (the voice, I have been reliably informed, is a sample from the movie “The Green Mile”. News to me!). The tracklisting is carefully ordered, suitably starting with “The Dream”, a complex and deep number which climaxes into a roaring nightmare. There follow a series of hard-hitting and technically demanding tracks, notable amongst them “Breaking Test”, featuring an extended an absorbing instrumental breakdown, and “Heart of Steel”, with some particularly neat bass riffing. And an impressive depth in variety is maintained by the gently flowing ballad, “Madman”, which throws up the pleasant surprise of Anastasia Ligotskaya’s lilting clean-voiced vocals. There is certainly enough variety to keep things interesting, but equally important is the album’s climatic rise, which carries listeners through the excellent instrumental, “K-129” (in reference to the sunk Soviet submarine) and onwards towards the final song, Riverain’s 8-minute, 8-second magnum opus, “Spirits of the Forest”. Throughout, the prog influences are obvious: songs are typically long and musically complex, with vocals often taking a back seat. And it’s not therefore likely to please those fans of the verse-chorus-verse orthodoxy. But the endless invention and development certainly keeps things fresh and exciting. By the time the end of the dream arrives with the outro, it’s obvious is was a night well spent! As might be clear, I really like this album. There’s tons of material crammed into each song, and while it might not be either one thing or the other when it comes to genres, that’s definitely to the band’s credit: not many acts would be as bold with their music. It might have been a couple of years since Riverain released the album, but if they’re thinking of throwing another pyjama party, count me in! Production – 5/5 Lyrics – 3/5 Album Cohesion – 4/5 Music – 8/10 Percentage Score – 80/100