Published on Wednesday, 20 August 2014 17:57
Album title: Everything That I Crave
Release date: 18 September 2014
Label: Crysella Records
02. The Name Of Blasphemy
03. Lullaby (Warrior Soul cover)
04. Reach Out (frostbite)
05. Everything I Crave
06. Until Your Tears
08. Afterlife Mine
09. Death Of A Friend
10. Venus In Furs (The Velvet Underground cover) [Bonus]
It's nineties, bands weren't so burdened with genre definitions and many new and interesting things came out, many new genres and sub-genres were born, everything was more spontaneous, there were many interesting experiments,... Now, in this confused era I came around this band or better said one-man band from Atlanta (USA) named Frostbite who's doing exactly that and you can't imagine how surprised I was. Debut album, Valentine And Other Stories Of Hope, which was released in 2011 went by rather unnoticed, but those who had the opportunity listening to it were surprised a lot. Frostbite is a dark artistic creation of Christopher Lee Compton who's not a new name in the gothic rock/metal movement as he's involved in it for almost two decades. The new album entitled Everything That I Crave is one hell of refreshment for all who are searching something vigorous with dark and foreboding feel.
Ten tracks on this album are a roller coaster of many different dark sounds with preciselly defined structures that range from gothic rock, gothic metal, doom, heavy metal, industrial and yet sometimes going astray from everything mentioned into alternative rock waters. Everything That I Crave shines because of its honest and genuine character, it can capture the listener in an instant with its epic cinematic soundscapes, but as well with hard kicking heavy vibes. It's needless to say that multiinstrumentalist like is Christopher Lee Compton doesn't leave anything to chance and that the instrumental side is well elaborated, but in my opinion the strongest point are the song structures and vocals. How many times have you heard a singer with such a voice range that can be compared to both, Geoff Tate from Queensryche and Carl McCoy of Fields Of The Nephilim, and yet not only to those two.
As the album starts with amazing gloomy intro "Nightmare", which could be as well taken from any of Cradle Of Filth's albums, we are drowned in an agitated sea of powerfull riffs, pounding yet perfective drumming, thumping bass lines and really fine gothy synths with some orchestrations, choirs, piano touches and other sounds that enrich the atmosphere. You have tracks with pure hard rock/heavy metal character like is "The Name Of Blasphemy", "Reach Out (Frostbite)" or alternative smelling "Lies", but still with a huge dose of Suomi sounding dark rock additions even in those. From my point of view the strongest point of Frostbite are huge dark gothic rock/metal compositions with soul tearing ambiances and unexpected twists like it's slowly and doomy riden "Everything I Crave" that brings in front the spirit of Type O Negative mixed with some Danzig from How The Gods Kill/Danzig 4 era and even Coal Chamber from Chamber Music. The very next one "Until Your Tears" is a nephilimian maelstrom of eerie atmospheres, and one of the stand-out songs, "Afterlife Mine", is a pure beauty that takes the listener through various emotional stances with its heart-rending vibe. Listening to this one is just like hearing the best parts of the most atmospheric Fields Of The Nephilim and Amorphis when going gentle on Am Universum or Eclipse, merged together in one absolute sonic and cinematic contamination, yet you must pay attention to great bombastic percussions in there just before you'll be put into the wastelands with dusky and soul caressing acoustic ballad "Death Of A Friend".
And that's not all, Christopher Lee Compton goes that far and makes a cover of 90s hit "Lullaby" from legendary American alternative hard rockers Warrior Soul. Even better than this one is the cover of so many times covered The Velvet Underground's "Venus In Furs" where Frostbite adds to this tune kind of a unique rather modern charm with high density in the sound, yet keeping the orinal psychedelic feeling of the song untached. Until now everything seems to be at the right place, but there's a glitch on the productional and final mixing side. I would expect music like this with a bit more professional touch, especially when the sound becomes high pitched and dense it somehow sounds blurred. Nevertheless this album is something special and will bring tears in the eyes to all those who miss that special creative character from two decades ago, you know, when albums like Bloody Kisses united the whole metal and goth scene.
Review written by: T.V.