Moonspell
“Hermitage”
Dark metal
Released: 26th February 2021
Via Napalm Records
I’ve never been quite comfortable in calling Moonspell “gothic metal” as that’s too much of a specific term to grasp all aspects of their music; “dark metal”, covering a broader range of said aspects, sounds more fitting. Especially now, given that “Hermitage” is probably the most somber album the Portuguese band has ever released.
They claim to be aware they’re approaching their final years as musicians and I remember Fernando Ribeiro saying, at Vagos Metal Fest 2016, how he hoped Moonspell would play like Helloween (headliners of that edition of the festival) when reaching their age. The Germans were in their early fifties at the time, so either that’s what Moonspell consider “final years”, or something has shortened the expiration date of their careers. Something like this pandemic, I believe. This whole situation has changed everybody’s perspective on life and “Hermitage” is supposed to be an album where Moonspell put their hearts out and bring them closer to the fans “in these times of distancing”.
Their bass lines have always been intense – more so since Aires Pereira joined back in 2004 – and the groove of “The Greater Good” is quite a highlight among those lines, enhancing the whole omen vibe of its lyrics.
Ricardo Amorim has long proven his ability to make his strings weep (“The Future Is Dark”, out of “Extinct”, pops to mind, but there are others) but the bluesy foundation upon “All Or Nothing” was built simply excels. “Solitarian”, an instrumental track, follows suit in terms of emotional guitar work, but the drums and keys set up a more jazzy rhythm. Now the gloominess of “Entitlement” is endorsed – not solely but mainly – by Pedro Paixão’s piano, in such a seductive way that I found myself in some film noir scenario listening to it…
I hope “The Hermit Saints” is chosen to be played live: the choir of voices in the chorus will certainly give goosebumps when sung along by the audience. But in all honesty, this record is so rich that pretty much everything will work out live – and I promise it’s not my longing for concerts talking…
9/10
by Renata “Pieni” Lino
A drawing of Lisbon in ruins – like the video for “In Tremor Dei” – as backdrop, one stand on each side of the stage for the Crystal Mountain Singers, and the new orchestral version of “Em Nome Do Medo” started playing at ten in the evening. Recorded, serving as intro, as the original version would be performed live later on the encore. So the first song to actually be performed was the title-track, Fernando Ribeiro singing it wearing a raven Venetian mask. As the album had been available in streaming format for a couple of days, a good share of the crowd was already singing along; the singles “Todos Os Santos”, “Evento” and “In Tremor Dei” had pretty much the whole house backing up the lyrics, not just the choruses. Moonspell are known for their powerful shows but when the crowd responds accordingly, interacting like they did that night, it’s always an overwhelming thrill.
Overwhelming was also the presence of fado singer Paulo Bragança. On my album review I’ve described his voice as “riveting” and that the outcome of his collaboration with Moonspell was “mind blowing”. It’s so much more when you experience it live that there’s no accurate words for it.
In a “city and venue that always welcomed them so warmly” (quoting Fernando himself), the tragedy told in this new album turned into rapture; Fernando said he understood that it would take us a while to get used to “1755”, not just for being new but also for being sung in Portuguese, but for what I saw that night no adjustment period is required.
For the cover of “Lanterna Dos Afogados” (by Os Paralamas Do Sucesso), the lights dimmed and Fernando held a lantern – the backup singers as well – enhancing that light-at-the-end-of-the-tunnel feeling which the songs bears.
The album is a little less than one hour long, so even with the usual chit-chat – “dial 17 55 if you want more information. By now we know everything there is to know about earthquakes” was quite funny – it was too short for a concert. So they came back to play a 7-hit encore. No matter how many times you listen to those final “Alma Mater” and “FullMoon Madness”, the shiver down your spine is simply mandatory.
Valkyrian Music 