June 2022 Feature Release – The Infinite Edition

This month’s feature release for The Infinite, nominated by me, is the debut, single-song album Ode and Elegy released this year. This is one of the more unique releases I’ve found this year and is quite different than most of the albums we’ve featured in the past. Equal parts theatrical and orchestral, it’s a very slow burning experience that despite having admittedly few Metal elements is worth the runtime due to the emotional songwriting and vocal performances. This feels like a love it or hate it kind of project, so let’s see how things shake out.

https://metal.academy/releases/34626

Where to start with this one? I think on the outset it should be noted that this record is far removed from anything metal in my opinion. In fact, this sounds strikingly similar to the new wave of emo/post-hardcore bands such as La Dispute and Foxtails, mixed in with just enough chamber elements to reminisce on Lingua Ignota. Then when I heard that Ode and Elegy is a solo project from a member of The Pax Cecilia, a mid 2000s post-hardcore/screamo band, I can't say that I was all that surprised.

I never heard The Pax Cecilia back in the day and honestly upon listening to their records, it isn't that surprising that they disappeared. They had some decent songs, but could never form an entire album out of them. Like with so many post-hardcore/metal bands, the texture takes over for good songwriting. Whereas with this, the way that Kent Fairman rises and falls with the song structures is impeccable. The opening string theme is eerily reminiscent to  the Firelink Shrine theme from Dark Souls 3 and I was amazed by how many ways this record took that simple theme and style and incorporated it throughout the record; passing it on to the chorus, horns and electric guitar.

Ode and Elegy feels like a record in two parts as the second half is more experimental on those motifs in addition to how it transforms. At one moment, you're waiting what feels like an eternity for any sort of girth from the distortion from the guitar or vocals. The next, the texture is slow and brooding like a doom metal album, and by the end, everything is on fire with blast beats in the percussion, and heavy dissonance in the guitars. On any other day I might call this texture wanking, but this time it is completely justified as melodic themes ebb and flow in and out with elegance and beauty.

From a production standpoint however, this record is seriously lacking. Beyond the strings which sound gorgeous, many of the horn and choral passages sound cheap and tossed in almost as an afterthought. I must admit, I've never liked choral elements in symphonic/chamber music. Far too often they feel like afterthoughts on compositions that would be perfectly acceptable to just have soloists. I never liked it on Beethoven's 9th and I'm not going to give Kent Fairman a pass here. 

I've mentioned in a couple of reviews the idea of metal bands using the symphony compositional form for an album or song and this is certainly one of the most unique albums I've heard that fit into that mold. It's use of melodic motifs that remain fresh throughout an almost hour long runtime is very impressive and harkens back to some of my favourite symphonies (Tchaikovsky/Beethoven's 5th and Brahms' 4th). The production is lacking, but somewhat expected because of the electric instruments, but that does not take away from the elite tier songwriting.

8/10

Well I have to say that I fucking loved this release Xephyr. It took me by complete surprise. The size of this dudes balls must be absolutely astronomical to have pulled this off with his debut solo album. It's just so beautifully executed & emotionally engaging. I can understand Saxy questioning whether it should technically qualify as metal or not as the metal component isn't huge but I think it's enough for me to want to link it to Post-Metal as it invites me to recall some of the more stripped back & atmospheric works of bands like Kayo Dot, Neurosis & Anathema. The androgynous vocals are lovely, the strings are very well orchestrated & even though the 55 minute single-track arrangement may seem drawn out to many (if not most) metalheads I never find myself questioning the artist's patience thanks to his exceptional ability to build tension & atmosphere. This record is just pure class from start to finish to be honest & I'm sure it'll be right near the top of my AOTY list come January.

4.5/5