Madmans Esprit
Dandelion

THE REVIEW

Who said that metal is a purely Western thing? Certainly, this is a thought that many die-hard metalheads might have, but today we’re going to look at a work that comes from the Asian continent and will disprove such voices: the new album by Madmans Esprit. Korean, formed in 2010, they are strongly influenced by a movement called Visual Kei, a trend among Japanese musicians (mainly rock and metal) who emphasize extravagant costumes and a highly theatrical stage presence. This latest work, Dandelion, like their previous records, features a sound that represents a balanced blend of alternative and black metal, and, as in their earlier albums, is sung almost entirely in Korean. The opening track “인생은 아름다워” immediately takes us into melancholy territories that are at the same time almost hypnotically engaging for the listener, thanks to the alternating slow sections, screams, metalcore-style breakdowns and melodic guitar solos. The influence of artists like Dir En Grey is clear, as in the following track “이제 그만 죽자” which, although closer to traditional black metal, isn’t without the same sounds of the previous piece; this style, in fact, is sometimes more dominant and sometimes in the background throughout all 51 minutes of the album. Although many associate some of their songs with depressive black metal, I think that's a rather simplistic statement, considering their musical influences are many and quite diverse. The third track opens with an even more familiar sound to extreme metal listeners; Dimmu Borgir and Behemoth can be seen as inspirations, even though there’s no lack of groovier sections. We then arrive at “Please Stop Loving Me”, a track previously released and re-recorded with a different mix, one more consistent with the direction of the album; there are several songs on this album that come from past releases, as well as tracks that are new versions of songs already played live. This choice is the factor that will most divide listeners: some will see it as proof of artistic maturity, while others might (rightly, I’d say) think of a lack of new ideas for a studio album. With “Mismatch” we reach a turning point in the overall sound of the work, metalcore and deathcore come to the forefront as in their earliest studio albums, since this too is a track taken from their earlier discography. The following pieces continue this sonic shift, almost dividing the album in two; another influence that can be noticed is gothic metal, especially in the track “진눈깨비”. In the song “자해 직전의 광기와 가득 찬 불안”, on the other hand, we find ourselves faced with a deathcore slap worthy of Lorna Shore’s recent works, certainly a tribute to that scene but, overall, also quite coherent with the rest of the songs in this second part of the album. The album closes with the title track “Dandelion”, where the listener is projected into a dark atmosphere, which in its over 10 minutes in length, moves across genres so much that it can be considered almost a standalone piece; excellent riffs as well as vocal lines and tempo changes, well-crafted and functional to the overall mood. What can we say in conclusion? The album is very well produced, with instruments mixed well so that they don't overshadow each other, and the rhythmic parts are also to be counted among the highlights as masterful work. From this perspective, returning to the initial question, we can answer with certainty that even in Eastern countries we find a strong and high-level metal scene; however, in the latest work of this Korean band, the lack of overall cohesion and the presence of revisited tracks is an element that inevitably raises some questions: was it really necessary for the integrity of the work or is it a way to “stretch out” an EP, turning it into a full-length studio album? I’ll leave the final judgment to you.

Best tracks: “Dandelion”, “이제 그만 죽자”