Kells
Gaïa

The artwork appears almost lively in its greenish coloration, evoking the splendor of vast and untouched Nordic lands, but Kells, a French band formed in 2001, do not seem in the least inclined to convey joy with their songs. Instead, one breathes dark emotions when listening to this "Gaïa" (2005, Adipocere Records), states of mind that do not seem to embrace any sense of suffocating claustrophobia, depression, or inherent malaise, but can be embraced without much effort, drowned themselves, like the look of the five musicians in the lineup, in a sea of romanticism and gothic symbolism, presented in an aesthetic-conceptual form that has recently achieved considerable success among the adolescent audience, that of female-fronted bands in a marketable version, of which the fortunate Evanescence were the forerunners.

If originality is not the peculiarity of your listening preferences, you'll be pleased to know that there are many positive aspects to the album. The production is excellent and seems not to have penalized any component of the band's sound. There are winning tracks, and factors such as the use of the French language in the lyrics, the contribution of orchestral arrangements by Fabrice Desire, lyrical choirs, and traditional acoustic instruments, scattered here and there among the various tracks, best emphasize the success of songs that are already not bland by themselves. The abrasive title track, sensual and rock-oriented, the catchy energy of "E-mobile", and the pianistic drama of "Miroir" are particularly enjoyable. But what stands out most is the cinematic epicness of "A l'aube", the nervousness of "Etat d'arme", and the acoustic relaxation of "Le vide", key tracks of the entire album wisely placed at the end. The only serious flaw of the album (apart from the lack of originality) is that it allows itself too little variety and articulation in the tracks, flaws rightly compensated by the truly standout interpretation of the singer Virginie Goncalves. However, it's impossible not to admit that greater effort in songwriting would have certainly benefited the long haul and helped the band make its name known beyond national borders, and it's truly a pity to note how almost all the tracks develop rather homogeneously and consist of a very short duration, precisely what will not please listeners not inclined to easy listening.

In conclusion, it's advisable to approach Kells thinking of "Gaïa" exclusively as a debut EP of an underground band, to avoid being anchored to penalizing prejudices. I believe that this work can still be satisfying, perhaps with the desire to listen to thirty-seven minutes of pure female gothic rock without too many expectations (after all, nowadays there are those who dare to do much worse with this genre) and considering the fact that this small disc would have at the time made happy all those who were looking for a response to Evanescence, Within Temptation, and Lacuna Coil across the Alps. In all honesty, it must be said that, first, it would be better to knock on the door of the far more original Beyon-D-Lusion and the surprising The Last Embrace, but it's not said that even Kells' album, currently in the recording phase, will not be able to give fans pleasant surprises...