Epta Astera
Ero Cras

Epta Astera ("Seven Stars" in Koine Greek - that is, a particular Greek dialect used for writing the New Testament and spreading Christianity) is a one-man band created in North Carolina, USA, by C. Harwick.

This album, "Ero Cras," is the debut, dating back to 2008.
The title is derived from the initials of the invocations in the Advent antiphons ("O Antiphons") read backward: Sapientia, Adonai, Radix Jesse, Clavis David, Oriens, Rex Gentium, and Emmanuel. Already in medieval times, it was discovered that the initials of these invocations, read backward, form the Latin phrase "Ero Cras," which means "Tomorrow I will be here." Finally, it should be said that the album is a concept on the life of Jesus.

Why all these references to Christianity and the figure of Christ? Well, because the aforementioned project falls under that branch of music defined as "Christian." And what does good Harwick offer us? He offers a mixture of ambient, folk, choirs reminiscent of Gregorian chants, and some very slight metal influences, which are limited to a few distorted guitar riffs here and there, characteristic drum uses of the genre, and occasional vocal solutions that faintly recall extreme metal.

After a necessary "conceptual" introduction, let's delve more into the musical matter. The album is quite varied, a factor that plays a bit both in favor and against our North Carolina cleric. Indeed, the first track, the long "Veni Emmanuel," proves to be well-conceived, containing excellent vocal lines that are extremely evocative and atmospheric, reminiscent of Gregorian chants, with an ambient backdrop and, I dare say, in some parts drone, and the appearance here and there of heavy, short, and simple riffs, stemming from a certain industrial metal school. The track develops well, with the participation of a sort of bagpipe, which gives a particular flair, with a pagan and Celtic aftertaste (an oxymoron almost for the proposal at hand). This track turns out to be, in my humble opinion, the best of the entire album, where the various musical souls present blend with good taste and successfully; not a masterpiece of song but a very good composition. Other experiments in the subsequent tracks are poorly executed, hence the variety as a negative factor.
The following tracks are certainly inferior to the opener. The following "Ave Maria" is a short composition with flute, glockenspiel (an instrument very similar to the xylophone), organ, and synth. The chants, as usual, are reminiscent of Gregorian ones. "Gaudete" has a rather sustained rhythmic skeleton, created with a synth effect and features a violin and bagpipe alongside the metal incursions (which, I remind, are limited to some simple riff). Sometimes the voice here doesn't fully convince. "Stille Nacht" is a reinterpretation of the famous Christmas folk song. And here is the greatest of the failed experiments and the worst track on the whole work. It starts well, with a good violin giving a pure and light atmosphere, but then a background effect - and here the first misstep - of an old vinyl record appears. The effect is too prominent and ruins the listening. If that weren't enough, here is another effect - the second misstep - much more annoying: glass-breaking sounds, sounds of which it is impossible to indicate their source, and in some parts a continuous panting. Truly annoying track and to be avoided.

"O Come And Mourn" lifts the spirits, being the second-best track. An organ, percussion, flutes, and a jaw harp-like instrument. And finally, some guitar strumming here and there. "Interlude: Low In The Grave" is, indeed, an interlude, rather negligible: an ambient background, a "sobbing" organ, and a strange, deep, and "possessed" voice. "Up From The Grave" is a "happy" track at the beginning but reveals doom influences in the second half, and the voice becomes almost a subdued scream/growl. "Pentecost" is an episode almost entirely narrated, constructed with a piano, a pulsating bass, and drums; at the end, for seasoning: dry distorted guitar riffs q.b. The album concludes with "Veni Emmanuel (Reprise)" which indeed reprises some melodic lines of the opener and a version entirely performed with the glockenspiel of "Ave Maria"; rather useless tracks.

In conclusion, leaving aside religious beliefs that in music do not interest me, I can say that the ideas are there, but they are too confused. Some experiments could have been quietly left out, and perhaps, to give greater cohesion, the metal component should be developed and improved. However, Epta Astera's first attempt presents something new that could develop into something better in the future, which is why I give it a 3 (though a very tight one, I emphasize). The next work, currently in progress, is expected to be released in the summer of 2009. Lastly, I would say that the album, like all future ones, can be legally and freely downloaded from the official website, under the "Music" section.