On first hearing the opening track on Seth’s “Les Blessures de L’Ame” “La Quintessence du Mal”, what strikes the listener is the raw production values combined with the ferocity of the buzzing guitar, symphonic percussion and snarling vocal. The overall effect from the outset is of an epic tale of mysticism and the supernatural. On reading the associated literature, this may not be so far from the truth, as the whole concept of the album is created around that most romantic contemporary saga of vampirism. On closer inspection however, what becomes apparent is that this album is actually a re-release of a 1998 original. With this in mind, what now strikes the attentive listener is how modern sounding this release could be argued to be. The compositions are tense, and display many varied textures within each passage. Whether or not the customer has had their fill of melodic vampire metal, or not, “Les Blessures de L’Ame” is unquestionably worth further consideration. It would be difficult to analyse each track individually, but the overall impression these give to the listener is one of being seduced by the towering melodies and drifting swells of guitar and keyboard. The music washes over the individual and smothers them in a blanket of tenderness tainted with only the merest hint of obscurity. The occasional peppering of gentle acoustic guitar and piano, on “Le Cercle de la Renaissance” for example, further lulls the unwary traveller into a sense of sanctuary and wellbeing. To describe this music thus leaves the reader wondering as to whether these pieces could follow that well trodden path of over-blown pomposity and grandiose melodrama. This may be one way to interpret “Les Blessures de L’Ame”, or it may be a gothic gateway to indulge the listener’s dark fantasies. Tracks such as “...A la Memoire de nos Frere” indicate the contrast apparent, with fierce riffs going hand in black-laced-gloved hand with fragile melody. The instrumental “Dans les Yeux du Serpent...” helps to draw together the luscious symphonic element to many of the tracks and leave them laid bare for analysis and extravagance.

Formed in the French city of Bordeaux in 1995, Seth have evolved over the years with a number of releases, “The Excellence”, “Divine X” and “Era Decay”, displaying a constant ability to combine sinister atmospheres with the most brutal compositions. The band experienced a hiatus between 2005 and 2011, but returned to business in 2012 with live performance co-headlining with Bethlehem. Remastered by Stephane Buriez of the French band Loudblast, and featuring two bonus tracks not on the original release “Les Sevices de la Peste”, which appears to be a rough demo mix and “Corpus et Anima”, a ferocious aural mauling, it may appear cynical to dissect the reasons as to why this album has been released again in 2012, but whatever the reasons may be, it is an opportunity for anyone new to the genre or unfamiliar with the work of Seth, to acquaint themselves with material which could be argued to have deserved more attention on its initial release. 

John Toolan

Band Info: www.facebook.com/innomineseth

Label Info: www.season-of-mist.com

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Perhaps most celebrated for the song “Poncho and Lefty” which was famously recorded by Willie Nelson in 1983, Townes Van Zandt never had anything approaching significant fame in his lifetime. His tunes have, however, been covered over the years by a wide range of artists including Emmylou Harris, Nanci Griffith, Hoyt Axton, The Tindersticks, Norah Jones, Robert Plant, Mudhoney and the Cowboy Junkies. Born into a well-known local family in Fort Worth, Texas in 1944, John Townes van Zandt’s childhood was spent travelling as his father worked in the oil industry.
After graduating from High School he attended military college for two years, and it was around this time he was diagnosed with manic depression. After abandoning a law course at the University of Texas he resolved to become a folk singer. Sadly, Van Zandt’s life came to an end in 1997 at the age of 52, 44 years to the day after the death of fellow country music legend Hank Williams.

After performing Van Zandt pieces in an assortment of collaborations over the years, Scott Kelly, Steve Von Till (Neurosis and Tribes of Neurot) and Scott “Wino” Weinrich (The Obsessed and Saint Vitus) have come up with an inspiring tribute to the great singer/songwriter, capturing the poignant fragility of the music whilst at the same time leaving their own impression on the tunes. Armed only with acoustic guitars for the main part, the covers appear faithful to the original, losing none of their distinctive courage. The lyrics of Van Zandt appear to paint a vivid private picture, and follow a striking narrative that the attentive listener will be able to draw from and relate to their own personal life. Opening with “If I Needed You” by Steve Von Till, the lyrics ache with Van Zandts characteristic vulnerability. “St. John, the Gambler” by Scott Kelly may lack the growl of Von Till’s voice, which appears to be the product of a thousand Marlborough cigarettes, but loses none of that candidness. Wino, who performs “Rake”, “Nothing” and “A Song For” has a soulful, melodic voice that is the perfect vehicle for these narratives. The longest track on the album “Tecumseh Valley”, performed by Scott Kelly, drives forwards unremittingly, as the tale unfolds, allowing the sparse instrumentation to highlight the frailty of the lines. These covers may lack some of the spring of the original versions, but none of the implication. These are gloomy stories of drunks, losers and the browbeaten.

Hopefully this collection will introduce the music of Townes Van Zandt to a new generation of listeners, some who may not have considered the country music genre in the past, who will then have access to a catalogue of honest, stirring and thought provoking songs. Music categorised as “doom” may not simply be seen as loud guitars chords played at a snail’s pace tempo, it can also be used to describe music such as we have here. Tributes such as this are an important way of keeping the legacy of important and influential musical figures alive, and this particular attempt achieves that without question. (9/10)

John Toolan 

Label info: www.myproudmountain.com 

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Elongated drones with distant, scratchy voice samples that mutate around the tone are generally a brave introduction to a collection of recorded music. If however, the listener favours the innovative and the experimental, then “Octagon”, the first track on “Cold Ground” is stirring news. Echoes of Yul, essentially Michal Sliwa and Mateusz Czech, originate from Opole in Poland, and will challenge the listener with this latest release which can broadly be described as disquieting. “Foundations” is a writhing collusion of extended guitar riffs, drones and vocal samples that stalk the listener’s subconscious, upsetting them further with passages of dissonance and anguish.

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