MOONSPELL — Irreligious (review)

Album · 1996 · Gothic Metal

4.5/5 · 2019-03-20
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While many second wave black metal bands jumped on the bandwagon and rode the wave of the template set down by bands like Mayhem and Darkthrone like a surfer in the Hawaiian Islands, some bands that started out that way jumped in and felt more like Jamaican bobsledders so they decided the status quo wasn’t quite for them. Such is the case for the Lisbon, Portugal based MOONSPELL that emerged in 1994 with the debut EP “Under The Moonspell” as a decent but indistinct black metal band but by the time they released the first full-length debut “Wolfheart” a year later, the band started to find its own niche in the quickly exploding scene. While still steeped in black metal, MOONSPELL laced it with a healthy dose of gothic metal inspired by bands like Tiamat, Type O Negative and The Gathering along with some various strains of European folk which together created a rather unique sound in the metal world.

Despite this early development of their own making, MOONSPELL abandoned this metal hybrid as quickly as it had established it and on the sophomore album IRRELIGIOUS, the black metal was totally jettisoned altogether with much of the folk music thrown by the wayside as well. What was left was a more gothic rock infused style that while tamping down the metal in general and replacing it with eerie Gregorian chants and symphonic organ sounds, still had enough metal mojo to qualify it as a metal band but in general, the gothic touches produced a more stylized production job that relied on a tapestry of instrumental sounds to create gloomy atmospheres and romantic visions of Romanian castles with blood thirsty counts on the hunt for another fix. The metal, while still quite abrasive at times had been reserved only for crescendoes and contrasts from the otherwise symphonic dominant melodrama.

The difference between IRRELIGIOUS and “Wolfheart” is stark and immediate as the album begins with a soundtrack sounding intro called “Perverse… Almost Religious” which takes spooky church organs and choral chants to evoke a full moon lit night journey into the graveyard and beyond. As “Opium” begins the nosedive into the world of everything goth, it’s also noticeable that the black metal guitar distortion has been replaced by a slicker guitar fuzz that plays in tandem with a hypnotic bass groove and slowed down percussive drive. Likewise, vocalist Fernando Ribeiro almost abandons any harsh screamed vocals except for the most dramatic moments and opts for romantic spoken poetic prose along with the clean Type O Negative style that sounds like Count Dracula has decided to make a mini-opera about his perverse proclivities.

“Wolfheart” displayed a strong sense of melodic hooks and IRRELIGIOUS continues this trend with eleven strong tracks that create instant gratification but it’s really the compositional flare that makes this such a strong album. The carefully timed developments of the dynamics, tones, timbres and bursts of aggression work out incredibly well and no moments feel like they wear out their welcome nor do they feel rushed. This is just one of those albums that teeters on the balance between too pop and too dark but somehow has enough elements of both sides of the spectrum to please. The tracks are diverse with some ranging on the slower side like “Ruin & Misery” which exudes a slow oozing use of keyboards, crunchy guitar riffage and nonchalant tempo changes. The musicians also show some extended range in their playing abilities. While the drummer simply known as Mike more or less just keeps a beat, on tracks like “For A Taste Of Eternity” he shows a flare for extremely complex polyrhythms and percussive dominance.

Overall the keyboards and samples of Pedro Paixão play the dominant role with the recording of Aleister Crowley reading his own poem “The Poet” on the track “Awake” which exemplifies the occult feel of the album as a whole. IRRELIGIOUS is a nicely paced album that is ultimately an atmospheric gothic rock album with metal touches that take it to heavy heights at key moments. The alternating forces of the symphonic rock and the more sonorous metal sections works quite well as do the stylistic percussion changes and guitar sounds that range from echoey clean to the intemperate unleashed loudness. MOONSPELL was one of those bands that couldn’t quite decide where they wanted to stay for long and despite crafting a cleverly cool and wickedly wild ride with this goth metal classic, the band would change things up again and get more experimental on the following “Sin / Pecado” but for this one at least MOONSPELL proved that they had an incredibly keen sense of what it takes to craft the perfect sensual sensibilities that make a great goth rock / metal album.