Review by Stephen Pedicino
There are times when every headbanger needs to temporarily disassociate himself with the impetuosity of chugging riffs, thunderous drums, and blood-curling vocals which characterize our beloved metal as it exists today. That’s where bands like Star of Ash come in. Stemmed from the creative mind of Heidi Solberg Tveitan (also known as Ihriel from Peccatum), this side project abandons every sense of “metal” and flushes with serene ethereality.
The opener “How to Invert a Heart,” hopefully not meant from an anatomical sense, spaciously introduces the listener to a down-tuned ambience just right for a reflective Autumn stroll through the woods. It runs straight into the saddened “Him and Her,” exploring a minimalist use of bass lines with a continued melancholic glaze of string-instruments and spacey keyboards. The rhythm is rather stagnant but slightly hypnotic in its simplicity. And I’m sure the titles would seem to warrant lyrics, but the music itself is enough to express the “feeling” if you will of both tracks. Sorry folks, no headbanging here!
The mitigative voice of Ihriel breaks through in the third track, and thus officially declassifies this album as an “instrumental.” Even though Star of Ash is her project, you’ll find that Ihriel’s singing only sparsely weaves its way through the emotive sounds and mysticism of The Thread. “The World Spins for You” is a bit less morose and a little more aesthetic overall, endowing the listener with one of those deeply clairvoyant moments true metalheads cherish so dearly. Nice song…
Tracks four and five emptily attempt to allure the listener into a prolonged state of pale reverie. Dull and tentatively schemed, these tracks almost managed to fray what the beginning of the record had connected to my imagination. They are still atmospheric in the purest sense, but are a bit too stripped to keep my mind engaged. I can easily dig this type of stuff as long as it’s not too ambient and one-dimensional.
“An Apology Gone Bad” probably has the most vocal aspect on The Thread. It’s more song-based, driven mostly by a gentle piano/acoustic combination. A strong string section boosts its way into the picture during the middle break, lifting listener to another state of wonder and phantasm. (Am I starting to sound like a hippie yet?)
“Blood Bones and a Skull” carries the vigor of this album to its climax by the means of a distorted, funk-inspired guitar section which jumps in about as unexpected as an orchestra in Cannibal Corpse…..Oh the intensity!! It even features male vocals. Perhaps by the end we’ll be treated to some double bass? *crosses fingers* Also, you’ll probably find the most melody within this track as well. It vaguely reminds of the works of The Gathering at times, fusing different textures of sound into a recipe for lush auras of ambience.
“Crossing Over” is about the most commercial piece off The Thread. Not that’s its pompous or anything of the like, but this track probably has the most “song” to it if you will. It has a duet female/male vocal duet capped off with an alternative emo-pop spice.
“Epilogue” is as somber yet as boring as anything else here. To be blunt, I see it as an effortless waste of time. You’ll hear nothing more than a slow, indecisive piano along with some whispers from Ihriel. But, perhaps it is supposed to be bland for a reason deeper than I can comprehend………or something.
It precedes the almost equally unfulfilling “Neo Drugismo.” The track consists of three things: A keyboard, military snare drums, and a man ranting in what sounds like Norwegian. I mean, I wouldn’t expect a conclusion like the Overture of 1812, but Star of Ash could have put SOME type of crescendo into these final tracks. But I won’t let these terminal shades of boredom mar my positive regard for this album.
The Thread has some truly beautiful parts that are perfect for reminiscing, falling asleep, walking, or eating a delicious morning bowl of cereal…..As mentioned, ambience is the name of the game and some parts of this album can get pretty minimalist. But of course, you have to expect that with an experimental and electronica soundscape. Keyboards dominate most of the sound and a healthy amount of strings work their way into the mold as well. Those who enjoy mellow-distorted guitars will also find something to enjoy. This is an album for those who appreciate the works of The Gathering and the lighter aspects of The 3rd and the Mortal. Slaloming through sonorous morosity, The Thread will fit anyone who is willing to contemplate the depth of existence in a musical environment.