Converge & Chelsea Wolfe - Bloodmoon: I (2021)^{Release ID: 32486}

I am partial to a bit of darkwave and Chelsea Wolfe has been my favourite exponent of the genre for the best part of the past decade or so, since hearing her 2013 Pain is Beauty album. During that time her music has darkened and become relatively heavier and my appreciation of her style has deepened with each subsequent release. Consequently, unlike most Academy members I suspect, I have approached this as a fan of Ms. Wolfe and not of Converge of whom I know very little, having always been put off by the various -core genre tags associated with them. As a result, I was a bit apprehensive that Chelsea had got herself associated to a bit of a dud, at least as far as I was concerned. Thankfully, nothing could be further from the truth and this collaboration works exceedingly well. I have no idea if this is typical of Converge's sound or not, but if it is then I have done them (and myself) a grave disservice for all this time by ignoring them as they come across as very Cult of Luna-ish, which is always welcome in my book.

While the album is definitely a genuine collaboration, it does seem to be more of a metal album than Chelsea Wolfe would normally produce, so feels like Converge were the dominant side of the partnership with their music being tempered by Chelsea's presence rather than being an equally divided recording. This is no bad thing and I'm guessing this was the natural way for the album to come about, without worrying about ego and  preciousness, the music coming first.

From the opening track, the almost eight minutes of Blood Moon, it is apparent that Chelsea Wolfe's gothic darkwave influence acts as the perfect temper for Converge's withering intensity, providing the moments within the music that allow it to breathe and offer some introspection rather than merely deploying relentless aggression which, for me personally, is a big plus as I find the sustained intensive aggression of metalcore and mathcore to be insufferable most of the time, but these gentler, more reflective parts provide contrast and context to the whirling maelstrom and make it much more effective as a result. Don't be misled though, there are still plenty of great riffs and metal moments - I'm particularly fond of the riff towards the end of Coil as the track peaks from the extended build-up. Chelsea's influence can also be felt on the crawling, Soundgarden-ish Flower Moon which also has a great riff and crunchy guitar sound as it ramps up the intensity for a real stand-out track. Flower Moon is followed by Tongues Playing Dead which sounds more like I imagine Converge to usually sound and, I must confess, if the whole album sounded like this track then I would struggle with it. Lord of Liars is similarly intense, but the presence of Chelsea Wolfe's clean vocal and the whirlwind guitar work make this a far superior number.

Anyway I have no intention of producing a track by track breakdown, suffice it to say that Bloodmoon:I provides far more variety and interest than I originally expected and although I certainly wouldn't say it's a perfect album, the protagonists, despite coming from very different directions, work well off one another and have combined to produce an album that should appeal to a large cross-section of fans of metal and more mainstream taste alike.

Collaborative albums can cause quite some mixed reactions, but sometimes it makes a lot of sense and you see it as a dream come true that should've been done sooner but astonishing either way. After a few post-sludge bands like Neurosis and Cult of Luna have done their collaborative albums, it's Converge's turn on the 30th anniversary of their formation and the 20th anniversary of the game-changing Jane Doe. This is... Bloodmoon!

For this band's 10th studio album, they've joined forces with goth singer Chelsea Wolfe, along with her bandmate Ben Chisholm and former Converge member Stephen Brodsky (Cave In) for a 7-person team-up. The results? Something different than before...

The album's opening title track welcomes us to a haunting new world with clean vocals by Jacob Bannon, with Chelsea Wolfe joining in for her verses. A devastating riff knocks us straight into this realm, and would work well for live performances. "Viscera of Men" starts with a brief blast into Converge's chaotic past before slowing down again with more of Chelsea's vocals and the post-sludge drama. Her influence shines strongly in "Coil", a grand acoustic/orchestral rock single of heartbreak.

The spooky fun "Flower Moon" continues the grand experimentation of the album with all the creators in union, with Brodsky having some fun in his vocal performance and guitarist Kurt Ballou throwing around his guitar talents. The pummeling "Tongues Play Dead" allows Bannon to really shine in his vocals. The anguish-fueled "Lord of Liars" has some strain, but Ballou takes the strain out on his guitar with cool results. You can feel in "Failure Forever" the smoothness in Brodsky's vocals. A more bluesy-like tempo is used for "Scorpion's Sting", with stings a bit, but doesn't hurt.

The doomy "Daimon" once again executes the string/key ambience very well. "Crimson Stone" pulls off a lot without extra effort. Wolfe and Bannon sing together in an ethereal duet before a climatic grand finale (for the song anyway). The stunning goth-pop "Blood Dawn" marks an easy pleasant end to the journey, would make you wanna get your hands on Bloodmoon: II.

Yep, the title says Bloodmoon: I, so you know that a sequel might come in a year or a few. Anyway, this album's Converge expanding their comfort zone with the guidance of Wolfe and Brodsky through this gothic-ish avant-garde post-sludge darkness. A new era for this band is awaiting!

Favorites: "Blood Moon", "Coil", "Flower Moon", "Tongues Play Dead", "Daimon", "Crimson Stone"