Elvenking
Two Tragedy Poets... And A Caravan Of Weird Figures

Elvenking - "Two Tragedy Poets...And A Caravan Of Weird Figures"
Folk Melodic Metal
2008

The glimmering and perilous scythe of “The Scythe”, which must have killed several fans with a clean throat cut in 2007, is still vividly etched in my mind, but this time it’s time to set aside such a murderous weapon and take a step back in praising Elvenking. Along with the Turin-based “The Dogma”, I consider them the most in-form Italian band in the vast metal cauldron. Just look at the elfin cover of “Two Tragic Poets… And A Caravan Of Weird Figures,” the Friulians make an unexpected return to the times of “Wyrd” thanks to an acoustic CD where acoustic guitars (with some rare occasions where there are riffs, though still not heavy at all) accompany the violin to recreate the folk atmospheres that launched them. No growls this time and power songs: vocal harmonies in complex choruses and so much sweetness, sadness and joy in passionate singing and instrumental parts.

CHAMELEONIC

To grasp the chameleonic capabilities of Elvenking, I invite you to quickly listen to the well-crafted singles “Another Awful Hobs Tale” and “Not My Final Song“, to dedicate more time to the acoustic versions of “Winter Wake” and “The Wanderer“. Try to compare them to the power punches of the original versions. Wonderful and touching, they sound like rare beauty novelties.

SHOWY

“Heaven Is A Place On Heart” (Belinda Carlisa) and in the ad, a female razor bites into a great piece of shin with incredible care and precision. In short, even if you don't want to, you all know the melody of this song, and the cover just proposed excites me beyond belief. The keyboards are heavy, like the snow outside my house, and the arpeggio that turns into a catchy riff over which the pompous chorus stands out is a custard-filled doughnut that tempts me. I know it's a baroque melody, uninspired, linear, and very simple, but there's nothing to be done: it shatters my auditory apparatus, and when in the break Elvenking pumps even more and the showy result is more than evident, I turn up the volume and listen to it again. Again.

FOLK

But let's move on to talk about the folk novelties of this tasty CD. The reflective intro of “My Own Spider’s Web” gives goosebumps, and Gamnadoras' voice sneaks in almost fearfully of breaking the atmosphere created with the violin/arpeggio mix. Always in low tones, the angrier and more lively “From Blood To Stone“ takes its first steps; the chorus intertwines with the excellent backing vocals, and in a flash, we follow the acoustic guitar that puts on a show in the break and continues sonically in the festive and driving “Ask A Silly Question“. Aggressive singing parts clash with Elyghen's violin, and through restarts, we witness a four-minute seesaw of exquisite craft. The TUM-TUM-TUM-TAM of “The Blackest Of My Heart” obsesses, and with the omnipresent violin in duet with the dirty and angry voice finds our pleased consent. But you can't leave with a frown, and so here's the lively finale with “Miss Conception”; very lovely with the piano addition and endowed with an airy chorus. Thus, a very successful chapter is sealed from a band that has now become, as far as I'm concerned, a hallmark of quality.

The truth is that this band really knows what they're doing. In a song, they can blend traits of folk/power/classic metal/rock/death, interlocking them with winning melodies made unique by the instrumental breaks of Aydan and Elyghen, always on top, bringing to mind only Elvenking. I don't know what to expect from their next album, but I assure you it will be mine the day it comes out because they are beautifully mature and perhaps at the peak of their form.