The song highlights Waldorf's piano skills to a stunning effect. "Moon Isabelline" is way too long to fall under the interlude umbrella, and too authentic to write off as a genre-blending gimmick. More than ever, Aquilus sounds like Waldorf seeing how often he can avoid playing metal, or at least playing metal like a metal musician.Īquilus features many instances of Waldorf flexing his classical chops during heavier songs, both as a player and a composer, but really, almost 18 minutes of Bellum I comprise pure neoclassical music. The full instrumentation brings an angular, technical approach that might even recall the likes of Opeth before Aquilus ' previous leanings toward older Emperor or Satyricon (due in large part to percussive assistance from Zebadee Scott), but it quickly returns to its elegiac melody and expansive arrangements. Make no mistake, a cut like "The Silent Passing" brings plenty to headbang to, considering it starts with what would be a proggy thrash riff, if it wasn't played on acoustic guitar. It's the best example on the album of the lines blurring between classical and extreme metal, as it incorporates some of its most punishing riff changes into what's essentially the heaviest chamber ensemble of the year. It says a lot about Aquilus ' controlled delivery that this is the one of two on Bellum I with any blast beats at all. "Embered Waters" does not simply check the "mood-setting interlude" box, becoming a deep, haunting palette cleanser of droning ritualism before "Lucille's Gate" deals its scorching blast beats. Perhaps the most compelling element of Aquilus is the fact Waldorf doesn't try too hard to push his stylistic amalgamation. The shrieking vocals, double kick drumming and dissonant guitar strains would work just as well without the augmented instrumentation, and honestly, vice versa. He fills every crevice of his soundscapes with layered keyboard ambiance or a harmonious vocal choral, methodically manifesting his grand vision without losing sight of the raw essentials. Whether he's shredding on acoustic or electric guitars, Waldorf imbues Aquilus with astounding dexterity. It is full of emotion, but it is not happy "… With this exchange begins the 13-minute odyssey "Eternal Unrest." Indeed, this simple appraisal of musical expression holds true within its many twists and turns. " What does music mean to you? " " I don't know. This beefs up the metallic side of the album, while Photo by Mortimer Bellchambers Waldorf's sense of bombast and scope is matched only by his ear for memorable leads-this time with heavier production to beef up the riffs. To that effect, "Into Wooded Hollows" solidifies Aquilus return to symphonic metal prestige. Of course, the tricky part is convincingly incorporating these elements into an extreme metal context. His spiraling piano arpeggios reveal his formidable classical chops, while the track's string arrangements set a beautifully dynamic atmosphere. Look no further than "The Night Winds of Avila" to understand the next-level proficiency Waldorf brings to Aquilus ' song.
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