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De uit Mechelen afkomstige band Marche Funèbre timmert sinds 2007 aan de weg. Een weg boordevol pure duisternis, die resulteerde in al even indrukwekkende albums. Ondertussen heeft de band niet stil gezeten. Naast het verder uitbouwen van een ijzersterke live reputatie stelde Marche Funèbre in 2017 hun nieuw album aan het publiek voor. 'Into the Arms of Darkness'. We schreven daarover: 'Marche Funèbre heeft al enkele jaren een heel sterke reputatie binnen het Doom gebeuren. Met 'Into the Arms of Darkness' bewijst Marche Funèbre niet alleen dat ze nog steeds meesters zijn in de aanhoorder onderdompelen in de ultieme duisternis. De band verlegt na al die jaren zowaar grenzen binnen hun eigen kunnen.' Nochtans is de band als puur Doom metal act omschrijven, hen tekort doen, stelden we toen reeds vast. Marche Funèbre brengt op 14 oktober een gloednieuwe EP op de markt 'Death Wish Woman'. Een EP waarop de band zijn eigen donkere grenzen verder aftast.
Dat blijkt al uit verschroeiende hete en duistere tracks als “Broken Wings” en “Death Wish Woman”. Twee songs waar alle registers worden open gegooid, net als de poorten van de Hel die eveneens gewillig open zwaaien na deze intensieve donkere wervelstormen. Echter het meest spraakmakend nummer op deze EP is het meer dan twaalf minuten lange “A Departing Guest”. Binnen die ene song laat Marche Funèbre helemaal in zijn kaarten kijken. Deze gevarieerde song zit boorde vol snoeiharde riffs die refereren naar death metal, maar ook trage tot verdovende tussenstukken die de haren op je armen doen rechtkomen van pure angst. Binnen een doom sfeertje worden eventuele demonen uit voornoemde Hel prompt opgeroepen. Deze song bewijst nog maar eens wat een veelzijdige band Marche Funèbre toch is. En hoe ze bovendien totaal niet moeten onderdoen voor enige zogenaamde grote Internationale naam binnen de scene.
Als kers op de taart brengt March Funèbre een al even indrukwekkende cover van de Paradise Lost song “As I Die”. Een versie die recht doorheen je hart boort als een vlijmscherp zwaard. Een ultieme doodsteek die kan tellen. De band benadert het origineel akelig dichtbij, en voegt er iets eigenzinnig aan toe, wat wijst op een uitzonderlijke virtuositeit van zowel de muzikanten als brulboei van dienst.
Besluit: Naar goede gewoonte verlegt Marche Funèbre op deze EP nog maar eens een donkere grens, waar we dachten dat er geen grenzen meer waren. Bovendien worden Doom elementen en Death Metal uitspattingen zodanig gecombineerd, dat we met verstomming geslagen uiteindelijk onze eigen demonen strak in de ogen kijken.
Dieci anni sono passati da quando cinque amanti delle sonorità più tetre e oscure del Metal hanno unito le loro forze per dare vita ad una band che rapidamente ha scalato svariate posizioni fino a ritagliarsi il suo posto all’interno dell’undeground. Dieci anni da quando la prima formazione embrionale dei belgi Marche Funèbre prese vita nel 2007 dalle menti dei due chitarristi Peter Egberghs e Kurt Blommé e del bassista Roel Van Doorsselaere ai quali si unirono il cantante Arne Vandenhoeck e il batterista Dennis Lefebvre. La band si era formata con l’obbiettivo di riportare in auge i fasti del Doom Metal di gruppi come Paradise Lost, My Dying Bride, Anathema e i primi Katatonia. Un primo anniversario che arriva con una discografia composta da tre album intitolati rispettivamente To Drown (2011), Roots Of Grief (2013) e Into The Arms Of Darkness (2017), un EP di esordio dal titolo Norizon (2009), un singolo e due split-album usciti nel 2015, 2017 e 2018. Per festeggiare questo primo ragguardevole traguardo di carriera, la band di Mechelen ha deciso di realizzare un nuovo EP, Death Wish Woman, composto da tre nuove canzoni inedite e una cover di una delle band a cui il loro sound è ispirato, ovvero As I Die dei Paradise Lost. L’EP verrà rilasciato ufficialmente il 14 Ottobre.
Ad aprire questo nuovo lavoro è Broken Wings, canzone che si avvale di una introduzione acustica affidata alla chitarra la quale viene subito raggiunta dalla batteria che scandisce immediatamente il passo che avrà il pezzo. Un’intro di breve durata che apre la strada al Doom dall’incedere pesante della band belga, incattivito dalle vocals di stampo Death Metal. Una prima traccia impreziosita da incursioni Thrash Metal. Questo tipo di commistione, in altre situazioni, arriverebbe a far indignare pesantemente i puristi del Metal e invece la band, in barba ai dogmi e ai canoni, riesce a fondere tre correnti con molta abilità e grandi capacità regalando a chi ascolta una canzone che è in grado di essere aggressiva e dall’incedere greve allo stesso tempo, e che riesce anche ad avere delle aperture melodiche le quali unite al growl ed al cantato in pulito della parte finale portano la traccia verso un Epic Doom elegante. Apertura convincente. Death Wish Woman, title-track e singolo con cui la band ha voluto presentare l’EP, uscito il 14 Settembre sul loro canale YouTube, occupa la seconda posizione in scaletta. L’aggressività del sound del disco aumenta maggiormente e il connubio tra Death, Thrash e Doom diventa ancora più marcato e il risultato è una traccia veloce ma articolata nel riffing e nella ritmica intervallata a momenti più cadenzati che ricordano molto i Candlemass per epicità e ritualità. Si potrebbe quasi “etichettare” questa canzone come un Thrash / Death venato di Doom in quanto i primi due stili dominano sull’impronta originaria del gruppo belga, che però non viene messa in disparte e segna i momenti più intensi del pezzo. Veniamo ora a A Departing Guest, terza traccia. In termini di durata questa terza canzone è la più corposa di tutto l’EP ma che per tutta la prima parte dell’arrangiamento appare fin troppo lineare e troppo semplice nella sua costruzione tanto da spingere chi ascolta a chiedersi dove siano finite le soluzioni sonore delle prime due tracce ma è solo una impressione poichè i suoni che hanno subito reso questo lavoro convincente e piacevole fanno capolino all’improvviso riportando sia i tratti melodici, epici e aperti che lontani ma vicini echi di atmosfere sulfuree; l’andamento mantiene comunque una certa linearità anche nei cambi di tempo che caratterizzano la seconda parte del pezzo, ma non si rischia né la noia né la perdita di attenzione grazie alle alte capacità nel coinvolgere gli ascoltatori che la band dimostra. Giungiamo alle battute finali con l’unica cover, come anticipato in apertura, dell’EP, As I Die dei Paradise Lost. Il brano, tratto dall’album Shades of God, originariamente suonava con una carica emotiva molto potente, un’aura gotica intrisa di paura accentuata dalla batteria violata e quasi annullata dalle vocals che facevano apparire il tutto più distorto di quanto le chitarre riuscivano a fare lungo tutto il brano e melodie che portano alle vertigine che ne ha fatto uno dei brani più celebri della prima fase di carriera della band britannica. La versione dei Marche Funèbre rende il mood del brano originale più greve e aggressivo intensificandone le atmosfere, la rabbia, le emozioni e l’intensità originarie portandole su un piano più alto. Tecnicamente arrangiato ed eseguito con un gusto per i suoni pieni e una carica energica di grande impatto.
Una prova maiuscola che ci presenta una band coesa e in gran spolvero che taglia il suo traguardo decennale con immutata carica e pronta a investire tutta la sua anima, si spera, in nuovi e futuri progetti.
http://www.metalwinds.org/2018/recensioni/marche-funebre-death-wish-woman-ep/
Tre campane di sventura suonavano quando negli ultimi giorni dell’anno MMVII, due uomini, siglarono un patto insieme a un terzo individuo, per risvegliare gli antichi spiriti di Peaceville Three e di Stoccolma…
… Okay, okay, okay, lasciamo stare questo preambolo in stile racconto gotico (per giunta mal riuscito) e ricominciamo…
Nel 2007, due chitarristi, Peter Egberghs e Kurt Blommé e un bassista, Roel Van Doorsselaere, decidono di dar vita ad una band con l’obbiettivo di riportare in auge i fasti del Doom Metal di gruppi come Paradise Lost, My Dying Bride, Anathema e i primi Katatonia. Dopo alcuni mesi alla ricerca di musicisti adatti a questo loro progetto, vengono reclutati il cantante Arne Vandenhoeck e il batterista Dennis Lefebvre con cui la band completa la sua formazione e inizia a dar vita velocemente alle prime canzoni. Dopo i primi live che si rivelano subito molto intensi nell’autunno del 2008, il gruppo entra nello studio della Literecordings per registrare il primo EP: “Norizon” che verrà rilasciato a Marzo dell’anno successivo ottenendo un buon riscontro da parte della critica e permettendo alla band di imbarcarsi in un nuovo tour di dieci date per presentare il nuovo lavoro.
Nel frattempo, iniziarono i lavori per il debut-album la canzone per un primo album che porta il combo belga, nell’ottobre 2010 agli Excess Studios di Rotterdam dove prende vita “To Drown“, che sarà distribuito da Shiver Records nel mese di Giugno del 2011. Il 2013 vede la band presentarsi sulle scene con una nuova formazione, dopo il primo cambio al basso che ha visto l’uscita di Roel Van Doorsselaere sostiuito da Zoran Van Belleghem, la band recluta come nuovo bassista Boris Iolis come bassista, prima di recarsi nel rinomato studio di registrazione belga Motormusic, nella natia Mechelen, per realizzare il loro secondo album “Roots of Grief” (Shiver Records). Successivamente al tour promozionale del nuovo album al fianco di Ahab, Mourning Beloveth, Saturnus, Eye Of Solitude, Ophis oltre ad altre band del Movimento Doom, nel 2015, due anni dopo il secondo full, la band si ritrova per le mani diverso nuovo materiale che finirà per dar vita all’EP “Lost“, prodotto con la collaborazione di Markus Stock (Empyrium,The Vision Bleak Fame) e al terzo album dal titolo “Into The Arms Of Darkness” uscito nel 2017. Quest’anno la band festeggia i suoi primi dieci anni di carriera e lo fa dando alle stampe un nuovo EP licenziato dalla Grimm Distribution / Cimmerian Shade Recordings e divulgato con la collaborazione di L’Alchimie Agency, il quale verrà rilasciato ufficialmente il 14 Ottobre. “Death Wish Woman” si compone di tre nuove canzoni inedite e di una cover di una delle band a cui il loro sound è ispirato, ovvero As I Die dei Paradise Lost.
Apertura dei giochi affidata all’opener “Broken Wings“. Una prima canzone introdotta da una chitarra acustica subito raggiunta dalla batteria che scandisce subito il tempo che avrà il pezzo. Intro di breve durata che spiana la strada al Doom dall’incedere pesante della band belga, incattivito dalle vocals di stampo Death Metal. Una prima traccia impreziosita da repentini cambi di tempo che alternano il Doom a incursioni che sanno di Thrash che in altri contesti porterebbero subito a far storcere il naso ai puristi di questo o quel genere che male vedrebbero una simile unione e invece la band riesce a fondere queste tre correnti con grande facilità e abilità confezionando un brano che riesce ad essere aggressivo e ipnotico allo stesso tempo e che riesce anche ad avere delle aperture melodiche più ariose che unite al growl e al cantato in pulito della parte finale portano la traccia verso un Epic Doom elegante e fortemente riuscito. Una prima traccia decisamente convincente. A seguire troviamo la title-track “Death Wish Woman“, canzone presentata come singolo il 14 Settembre (potete trovare la news uscita in contemporanea alla pubblicazione del singolo sulla nostra pagina Facebook). Il matrimonio tra Death, Thrash e Doom diventa ancora più marcato e ne scaturisce una traccia veloce ma con un riffing portante e una ritmica che riescono a mettere in evidenza anche passaggi più articolati e ragionati che si vanno ad intervallare a frangenti molto più cadenzati che ricordano i Candlemass per epicità e pathos. L’aggressività del sound del disco aumenta maggiormente dove il mood diventa quasi totalmente Thrash / Death ma dove però il Doom non viene messo in disparte e segna i momenti più intensi del pezzo. Terza posizione occupata da “A Departing Guest“. Questa terza canzone, guardando al minutaggio, è quella con la durata maggiore di tutto l’EP. La prima cosa che desta l’attenzione è che per tutta la prima parte dell’arrangiamento il sound appare fin troppo lineare e semplicistico nella sua composizione ma (fortunatamente) è solo una impressione negativa pronta a dissolversi rapidamente perché i suoni che hanno fin da subito reso convincente questo parto discografico compaiono all’improvviso riportando in vetta le melodie, epiche e aperte della seconda traccia nonché quei lontani ma vicini echi di atmosfere sulfuree come in apertura; l’andamento mantiene comunque una certa linearità anche nei cambi di tempo che caratterizzano la seconda parte del pezzo, ma non si rischia né la noia né la perdita di attenzione. In chiusura troviamo la citata cover dei Paradise Lost “As I Die“, questo brano, tratto dall’album “Shades of God“, possedeva già in origine un’alta carica emotiva, forti connotati gotici cosparsi sapientemente di quell’aria tetra e quasi paurosa accentuata dai patterns della batteria surclassati dalle vocals che distorcevano il pezzo in forma maggiore rispetto a quanto veniva fatto dalle chitarre oltre che a melodie che portavano alla vertigine; elementi che ne ha fatto uno degli anthems della band britannica. La versione rivisitata e corretta dei Marche Funèbre rende il mood del brano originale più greve e aggressivo incrementando i livelli delle atmosfere, aumentandone la rabbia, ampliandone le emozioni e l’intensità originarie portando il tutto su un piano più alto che si rivela di grande impatto, migliorando addirittura la versione originale.
Ottima prova che ci presenta una band dalla verve immutata che speriamo di vedere presto tornare con un nuovo album.
When my NCS comrade Andy Synn made the Belgian band Marche Funèbre the subject of his 44th Synn Report almost five years ago, reviewing their debut EP and first two albums, he recommended them for fans of My Dying Bride, Eye of Solitude, and early Paradise Lost. He wrote: “Desolate and depressive, ominous and oppressive, their often lengthy, drawn out songs are simultaneously draining and invigorating – at times they hit with instant impact, at others they build slowly and insidiously, insinuating themselves into the darkest corners of your mind.”
Since then the band have released one more album, 2017’s Into the Arms of Darkness, and a pair of splits. And now, to celebrate their tenth year of life as a band, Marche Funèbre have recorded a new four-song EP that will be released on October 14th by GrimmDistribution and Cimmerian Shade Recordings. Death Wish Woman is its name, and what you’re about to hear is its title track — and if you’ve never heard this band before, you’re in for an electrifying surprise. You might be in for an electrifying surprise even if you have heard their music before.
“Electrifying” is the main word that keeps coming to mind in thinking about this new track, along with “addictive” (highly addictive). Crushing, majestic, and doleful doom/death this is not. Although the band have certainly proven themselves highly capable of harrowing those haunted fields, they put the pedal to the metal in “Death Wish Woman“.
They’ve packed the song with an array of high-intensity, immediately infectious riffs, and matched them with an equally vibrant array of bass-and-drum rhythms that together make the song such a highly head-bangable thrill ride. As the band move through their racing paces, you encounter jittery fret-work and thundering percussion, a jabbing, jolting riff paired with a hard-slugging drum beat, and yet another riff which, along with a slower rhythm, transforms the song into a lurching, shape-warping beast shaded in gloom.
While the band move through these changes (and more), the vocals also change to match the permutations of the music, delivering savage, blackened snarls, vicious death metal growls, and fiery, sky-high, anthemic clean vocals (which are sometimes joined by those furious, livid snarls to create spine-shivering duets).
The crescendo of the song is introduced by a craggy bass solo over a syncopated drum pattern, and that’s a signal that your neck is about to get one last big workout as the song hammers its way to a close.
There are three original songs on Death Wish Woman, in which Marche Funèbre celebrate their decade of doom by showing the breadth of their talents and interests, and it’s entirely fitting that they close the EP with a cover of a classic Paradise Lost song from the early ’90s — “As I Die”.
Look for Death Wish Woman on October 14th in CD and tape formats from GrimmDistribution and Cimmerian Shade Recordings. Credit for the cover art goes to Alex Norman.
https://www.nocleansinging.com/2018/09/13/an-ncs-premiere-marche-funebre-death-wish-woman/
A somewhat playful anniversary release from Belgium's Marche Funèbre seems like the perfect use for an EP format exploration.
Regular visitors to this parish will already know well enough that I'm a fan of Mechelen-based Marche Funèbre, and it's nice to see them celebrating the band's tenth birthday with their customary verve and enthusiasm. Amongst the anniversary plans and projects comes this release: 'Death Wish Woman', described as "a conceptual EP...3 brand new tracks and 1 cover... This time they incorporated some thrash metal elements in their sound, without losing their own - albeit eclectic - identity".
And, yes, you will notice that it kicks off at a pretty up-tempo pace for a work of Doom, with the rhythm section delivering a rumbling, heavy-on-the-bass assault that wouldn't have sounded amiss on the first couple of Iron Maiden albums, or - in places - the first couple of Voivod ones. Not that it sounds directly like either band, though: mostly it just sounds like Marche Funèbre playing quite fast - something they've never been terribly shy about doing in the past, even if this time it owes a little more to NWOBHM and Thrash than Black and Death Metal. Anyway, it works as a combination, though it may not always meet with favour from those who prefer their Death/Doom to progress in more glacial fashion.
Well, I guess if there is a principal difference between an EP and an album these days - given that a modern 'EP-length' release can easily outlast an older 'full-length' release - it's that it can afford to be more experimental and diverse in the subject matter it addresses. Which, with the conceptual trilogy of new songs, is mainly apparent from their different musical styles. Essentially, whether they were intended to be a continuous story or not, the actual delivery gives them more of the feel of three separate tragedies, loosely linked by the different protagonists' melancholy fates.
Opener 'Broken Wings' swaggers in with a swelling, dramatic layering of instruments, before gaining speed and pace - lyrically and structurally, it reminds me in some ways of a more sophisticated 'Regiment Of The Hopeless', from the 'To Drown' debut. The title track doesn't mess about, launching a galloping NWOBHM-inspired riff assault and pretty much carrying that all the way through. Third of the triptych, the much lengthier 'A Departing Guest', returns to a more typical Marche Funèbre blackened Death/Doom fusion, contrasting faster and slower sections, and clean and harsh vocals.
The EP signs off with a somewhat heftier but otherwise fairly faithful rendition of Paradise Lost's 'As I Die'. I guess it fits in well enough with the concept, and the louder, more energetic performance does at least do something to offset the frankly tinny, turgid Goth-Rock-by-numbers recycling of the original. I like this version better, but, with the best will in the world, that's not setting a very high bar, and it's by no means the compositional equal of any of the preceding pieces on the EP.
I will admit that, beyond the more-or-less factual aspects of 'Death Wish Woman' outlined above, I have struggled a little to come up with a personal summary. Even to the point where I put it completely aside for a couple of weeks, to come back with to it with something like fresh ears. It's not that I don't like it: I do. There are some great things about it, especially when the twin-guitars-plus-bass are deployed almost as a classic Metal triple-lead-line formation. I like the way Arne's clean vocals have continued to develop over the years, hitting some equally classic Metal highs in places. I like the ever-tighter, ever-more-technically-proficient soundscapes that the band have developed over the years. But, for once, I find myself enjoying a Marche Funèbre release not so much for the ostensible Doom content, but as more of a good old-fashioned "Heavy Metal thunder" type romp. Yes, the lyrical material's suitably dark and dismal, but it's nothing you couldn't find being delivered by bands of the likes of, say, Angelwitch, the aforementioned Maiden and Voivod - and the musical pace and dynamics, for the most part, seem pretty much derived from those sorts of early-mid '80s vibes. Although, it's equally true to say that there's a decidely modern/extreme heaviness laid over those roots, and 'A Departing Guest' shows that the band can still show off all their Doom chops with practiced ease, whenever they want.
So I guess I'm going to have to conclude that this is deliberately placed with one foot in the Doom camp, and the other standing on the shoulders of all sorts of other favourite Metal titans. Though the music's deadly serious, the package sounds a little tongue in cheek, a little 'why the hell not?', and it's exactly the sort of playfully off-piste thing that the EP format is ideal for. That it's been done well is no surprise, but I'd call it one for the fans, and one for the band, rather than something with outright appeal for more generic (Death) Doom fans. Which may well have been the intention all along. Essential: probably no; enjoyable: emphatically yes. And as an anniversary marker celebrating the band itself, rather than any genre-specific constraints, yep, definitely - put me down for a preorder...
http://www.doom-metal.com/reviews.php?album=3347
I Marche Funèbre si sono formati circa 10 anni fa e dopo tre album e svariati EP/Split hanno sentito il bisogno, oltre che al comporre nuovo materiale, a dirigersi verso nuovi orizzonti sonori. Se i cinque musicisti belgi sono partiti dal doom/gothic metal, al momento, con il nuovo Death Wish Woman arrivano a contaminare il proprio sound con il thrash metal ed anche con un approccio più old school. L’EP in questione (questo è il formato del nuovo dischetto) presenta tre brani inediti più una cover.
L’opera si apre con “Broken Wings” e già saltano all’orecchio le vere e proprie novità. Il classico doom/gothic metal (con qualche spruzzatina death) che non a caso ricorda i Paradise Lost più crudi e violenti, del gruppo, viene potenziato con massicce dosi di thrash metal come lo dimostrano le repentine accelerazioni stile treno in corsa. Sorprendentemente l’effetto è positivo e non stona mentre il lato più melodico (alquanto malinconico) viene lasciato al lavoro della chitarra solista ed alle sfiziose vocals in pulito decisamente evocative. Con la successiva “Death Wish Woman” ritorna il bizzarro incrocio di doom e thrash che continua a funzionare e si fa ancora più epico (si sentono molto i Candlemass periodo anni 80’) ed allo stesso tempo violentissimo specie sul finale dove la voce si prodiga in uno scream/growl lancinante e furioso. L’ultimo inedito si intitola “A Departing Guest” che dura oltre i dodici minuti e dove tutti gli elementi appena descritti vengono mescolati al meglio. Le ritmiche rallentano e si velocizzano, il guitarwork è sempre in bilico tra il riffing tetro/drammatico ed un solismo raffinato ed evocativo come pure il cantato. Uno dei pregi della band è il non annoiare mai riuscendo a tenere un livello di attenzione/qualità sempre costante e coinvolgente senza snaturare le proprie idee.
L’ultima traccia è la cover di un celebre brano dei Paradise Lost ossia “As I Die” che viene eseguita abbastanza fedelmente rispetto all’originale.
Un EP di qualità e valore, dalla lunghezza non trascurabile (quasi mezz'ora) e che soddisferà i palati di una moltitudine di ascoltatori appassionati del buon vecchio metallo. Consigliatissimi!
Бельгийский Death Doom Metal-проект издал новый юбилейный епи на GrimmDistribution / Cimmerian Shade Recordings. Коллектив собрался в 2007/8-ом годах тремя музыкантами, желавшими творить в духе ранних Katatonia. За 10 лет существования на счету банды 3 полноформата и несколько епи/сплитов.
EP «Death Wish Woman» черпает вдохновение в романе «Сломанные крылья» ливанского писателя Kahlil Gibran. Это произведение — первое (и единственное) крупное произведение ливанского автора, как и первая крупная форма, с которой ведет отсчет современная арабская проза. «Птица со сломанными крыльями никогда не взлетит в воздух», — говорит главная героиня.
Мрачным артворком занимался Axel Norman.
Конечно, для того чтобы уловить всю суть и вдоволь насладиться особенностями музыки Marche Funèbre не хватает еще тройки-другой песен. На мини-альбоме представлены 3 собственные композиции и 1 кавер на работу из третьего полноформата «Shades of God» культовых Paradise Lost «As I Die». Его, к слову, банда часто исполняет живьем на концертах.
С первых же секунд первой композиции понимаешь — это не совсем то, чего ожидал при виде меланхоличной думовой обложки. Материал бодрым ритмом врывается сквозь врата умиротворения. И правильно, ведь это не классического разлива дум, а дум-дэт, перекликающийся с эпик-думом. Хотя, конечно, тягучие моменты в ЕР будут также представлены в должном объеме, на радость фанатам жанра.
Весьма энергичная «Broken Wings» сходу придает боевой настрой и подготавливает к трем другим трекам, отличающимся по напору. В них же главным отличием от первой композиции будет наличие мужского эпик-думового клин-вокала. Помимо всесокрушающих риффов, сочного гроуло-скрима и эпичного мелодизма клин-вокал стоит выделить отдельным пунктом. Вероятно, первое время он покажется странным и не всегда попадающим в ноты, однако, трудно не отметить, что именно он придает материалу изюминку. Страдальческие ноты поданы психологично и театрально, порождая в воображении картины мрачного кладбища под проливным дождем в ночное время суток.
Одна за другой «Death Wish Woman» и «A Departing Guest» пробивают до мурашек. Разнообразный подход в аранжировках и композиторских ходах, структуре, а также приятный слуху саунд заслуживают высшей оценки. Припевы надолго въедаются в память, а куплеты должным образом оставляют в напряжении, подводя к кульминации и финалу. Формально, релиз без одной минуты можно считать полноформатом, однако, повторюсь, хотелось бы чуть больше песен. Ведь на самом интересном месте появляется бездонная пропасть, которую трудно заполнить. Включаем по второму кругу.
В свое время Marche Funèbre уже гастролировали с Eye Of Solitude, Ophis, Primordial, Saturnus, Ahab, Mourning Beloveth, Isole и другими каноничными коллективами. Было бы неплохо когда-нибудь увидеть банду и в наших краях.
http://homo-faber.net/marche-funebre-death-wish-woman-ep-2018/
Marche Funebre are a band from Belgium that has been featured in this zine before and plays a mixture of black, doom and death metal and this is a review of their 2018 ep "Death Wish Women" which was released as a joint effort between Grimm Distribution and Cimmerian Shade Recordings.
Clean playing starts off the ep before going into more of a heavier and melodic direction while the vocals bring in a mixture of death metal growls and black metal screams along with the slower sections of the songs being very heavily rooted in doom metal as well as a couple of the songs being very very long and epic in length.
All of the musical instruments have a very powerful sound to them while the solos and leads being done in a very melodic style along with some clean vocals being added into certain sections of the recording as well as a couple of the tracks being very long and epic in length and they close the ep with a cover of Paradise Lost's "As I Die".
On this recording Marche Funebre remains true to their mixture of black, doom and death metal, the production sounds very professional while the lyrics cover literature, philosophy and grief themes.
In my opinion this is another great sounding recording from Marche Funebre and if you a re a fan of black, doom and death metal, you should check out this ep.
http://bringerofdeathzine.blogspot.com/2019/01/marche-funebredeath-wish-womengrimm.html
Le groupe du jour nous vient de Belgique et le ton est donné dans une ambiance doom/death metal pour ce Ep sorti en fin 2018 par Marche Funèbre formé en 2008 et déjà fort de de sept sorties cumulant 1 Ep, 1 single, 2 splits et aussi 3 albums. .
Nous avons ici quatre titres d’un doom/death metal à l’ancienne fort en mélodies ainsi qu’en atmosphères variables néanmoins empli d’une forte mélancolie.
Au niveau rythmique, l’ensemble est proposé principalement en mid-tempo même si l’on saura apprécier des accélérations comme pour « Broken Wings » par exemple.
Concernant le point de vue vocal, on se place sur un panel intéressant entre voix death bien caverneuse, cris plus black puis chant clair qui ne sera pas sans rappeler My Dying Bride, voire même quelques intonations à la Reverend Bizarre.
On retrouve la recette des combos de l’époque dans cet Ep bien exécuté.
On saura également souligner l’énergique et plus hargneuse « Death Wish Woman » qui aborde le doom death de manière un peu plus brut. Ici, les passages mid tempo sont plutôt utilisés sur les passages plus épiques et la structure instrumentale tend plus vers le black/death à entendre plus de lourdeur et de double pédale qui déroule.
Les mélodies sont toujours aussi bien enchaînées et la variation du chant apporte une bonne touche aux différents passages.
Nous avons également le morceau le plus long « A Departing Guest » proposé forcément sur une touche beaucoup plus progressive.
Nous évoquions auparavant le chant de Reverend Bizarre, et de ce fait je ne saurais que conseiller aux amateurs du sieur Albert Witchfinder de laisser l’oreille sur ledit titre.
On reste dans un ensemble très mélodique et accrocheur, et l’appréciation grandit au gré des divers tableaux proposés ici au sein d’un seul et même titre. On voyage entre parties bruts avec certains retours à l’apaisement par le biais de riffs longs.
Le combo propose également une reprise d’un groupe pilier du genre avec « As I Die » des anglais de Paradise Lost et force est de constater que Marche Funèbre sait s’approprier cet hymne du doom death sans singer l’originale et c’est là aussi le côté intéressant d’une reprise : lorsque le groupe y inclut sa propre personnalité.
Un Ep bien intéressant qui prouve aisément que la vague doom death a encore de bien beau jour devant elle tant ce Ep sait accrocher l’écoute et propose un voyage agréable.
http://www.magicfiremusic.net/2019/03/03/chronique-marche-funebre-death-wish-woman/
Questo combo dal Belgio introduce l’EP con una canzone che richiama molto i primissimi Paradise Lost, con alcuni accenni ad un death doom pesante ma romantico. Con la traccia omonima invece si vira in altri lidi, musica più pesante e cruda, molto death nel mood. Eppure nella seconda parte di canzone ancora una sterzata stilistica. Compare poi nel bel mezzo della traccia una voce pulita in un’atmosfera quasi settantiana… Poi si ritorna in carreggiata per chiudere il pezzo così come era cominciat “A Departing Guest” sembra una traccia scartata dai My Dying Bride di metà carriera, un alternarsi di voce pulita e growl accompagnata da un tempo marziale e lento, un incedere quasi doom dalle atmosfere leggermente stoner. A chiudere un EP quanto mai eclettico ci pensa una cover dei Paradise Lost, guarda caso. Una traccia tutto sommato piuttosto canonica e a mio avviso la più debole e meno riuscita del lotto, che va a perdere tutta l’epicità dell’originale. Cover a parte, il disco è piuttosto interessante per la curiosa commistione inusuale dei vari generi proposti. Chissà che non sia un apripista per un album completo…
http://www.metalhead.it/?p=152586
Das belgische Death Doom Quintett MARCHE FUNÈBRE ließ nach ihrem dritten Album Into the arms of darkness nicht lange warten und veröffentlichte im Oktober 2018 mit DEATH WISH WOMAN eine EP, die drei eigene Songs und ein Paradise Lost Cover enthält. Die Einflüsse der Death Doom-Vorreiter sind auch abseits der Coverversion ihres legendären Songs “As I die” unschwer erkennbar.
Bereits der EP-Opener “Broken wings” erinnert in seinen Growls und seiner Instrumentalisierung stark an The plague within. Mit steten Tempowechseln kreieren MARCHE FUNÈBRE so einen melodiösen Stampfer, dem die Band besonders zum Ende hin durch Epic Doom-Klargesang eine eigene stilistische Note verleihen kann.
Der darauffolgende Titeltrack “Death wish woman” setzt diese Marschroute weiter fort. Dabei grenzt er sich in weiten Teilen vom Opener durch seinen Fokus auf rotziges Geschredder und deutlich schleppendere Epic-Parts ab. Doch auch “Death wish woman” beschränkt sich nicht auf diese Ausrichtung und etabliert zum Schluss nochmal ein richtig rockiges Tempo.
Das beinahe 13-minütige “A departing guest” verleiht der EP dann nochmal eine richtig episch-progressive Note. Dabei erinnert es besonders instrumentell an die australischen Melodic-Prog-Metaller Be´Lakor und erzeugt eine düstere Insomnium-ähnliche Atmosphäre, die durch die gequält-weinerlichen Klargesänge aber nicht vom eigenen Stil abweicht.
Das Cover von “As I die” ist eine schöne, abschließende Reminiszenz an die eigenen Vorbilder vor denen sich MARCHE FUNÈBRE mit einer Version in ihrem eigenen stilistischen Gewand gebührend verbeugen.
https://www.hellfire-magazin.de/marche-funebre-death-wish-woman/
Now here's a cool-sounding Belgian band playing a mix of doom and death metal, and they are doing it with style. Even with only four songs and 29+ minutes, I enjoyed the heck out of this.
Comparisons to Paradise Lost and My Dying Bride can easily be made, not only by virtue of covering the former's "As I Die", but also because they embody the same songwriting ethics found in both bands. These Belgians differentiate themselves from their influences through the interplay between grunts, shrieks, and clean vocals, and occasionally employing a faster tempo than is the norm for doom/death, particularly in the title track. The epic "A Departing Guest" puts all the pieces together to create both a perfect symbiosis of doom and death metal and a damn fine example of what this band can do at full power. The aforementioned cover of "As I Die" also works well for them, sounding pretty close to the original version of the song while the vocals differentiate it enough to be more than just a direct retread.
Don't hesitate—check this out!
https://www.metalcrypt.com/pages/review.php?revid=11205
Por definição, o death/doom metal é um gênero que mistura os aspectos lentos, épicos e climáticos do doom metal, com a sujeira, agressividade, peso e obscurantismo do death metal.
Climas melancólicos, riffs atonais, andamentos lentos e no limite das dobras melódicas, vocais guturais que se misturam a limpos, tudo isso criando uma fórmula mórbida e sombria.
Porém, mesmo que a banda Marche Funèbre, fundada em 2008, se auto-rotule como death/doom metal, não são exatamente estas definições que esses belgas entregam em “Death Wish Woman”, seu segundo EP em dez anos. Nem em “A Departing Guest”, faixa mais fiel a estes preceitos.
Na verdade, enquadrar a sonoridade do Marche Funèbre somente como death/doom metal, de fato, limita e muito o que apresentam nessas três composições autorais e no cover para “As I Die”, do Paradise Lost.
“Broken Wings” abre o EP com mais proximidades ao death/black metal do que ao death/doom, apesar dos riffs timbrados à moda Paradise Lost e Amorphis.
Aliás, essa faixa mostra toda a influência do Paradise Lost de início de carreira na musicalidade da banda.
A faixa-título chega na sequência, chafurdando ainda mais na lama do death/black metal usando uma velocidade estonteante para os padrões do gênero que ela própria se enquadra.
O que não é um problema, pois logo vemos que a proposta geral se baseia um atrito de velocidades, intensidades, usando o doom metal do Candlemass como potencializador do death metal pelo contraste.
Além disso, apresentam interessantes mudanças de andamento e variação no tempo dos arranjos, sendo o que o Marche Funebre trouxe de diferente para a sua música.
Além dos vocais versáteis e competentes, a lógica do “menos é mais” do death/doom não se aplica, pois buscam variações e complexidades dentro de sua estética musical arcana, clássica e orgânica, algumas vezes soando até mesmo experimental ou progressiva (como na longa “A Departing Guest”).
Com isso, “Death Wish Woman” consegue desviar da alta probabilidade que o gênero tem de se tornar enfadonho pelo exagero de repetições. Claro que ainda existe um pouco daquela auto-indulgência que é quase um corolário de suas definições, mas até isso faz parte do roteiro.
Sem dúvidas “Death Wish Woman” é, além de uma comemoração dos dez anos de banda, uma exploração das possibilidades da sua musicalidade, como eles próprios dizem ao confessar que aqui estão algumas das faixas mais rápidas e mais lentas já escritas por eles.
A banda traz na bagagem três álbuns completos – “To Drown” (2011), “Roots of Grief” (2013) e “Into the Arms of Darkness” (2017) – que revelam uma evolução musical rumo ao amadurecimento que vemos nesse “Death Wish Woman” (com conceito inspirado no livro “Asas Partidas”, de Khalil Gibran), que pode apontar também para um nova abordagem no futuro.
https://gavetadebaguncas.com.br/marche-funebre-death-wish-woman/
“Wat had u gewenst, mevrouw?” “Wel, doe maar een bungeesprong met uitgerafelde elastiek, een paar glaasjes cobragif en een nachtje in de celblok waar ze de seksuele delinquenten houden alstublieft. Het is voor de tiende verjaardag van Marche Funèbre, dus het mag eens iets speciaals zijn.” Iets speciaals is de doodswensmadam van de Belgische doomformatie ook geworden.
Een dikke minuut, daarna barst de deathmetalbom. De tragische sluimermelodieën trekken nog wel tranen met tuiten, het riffwerk is van het onstuimigste dat in tien jaar tijd uit een Mechelse gitaar gekelderd is. Waar de majestueuze melodiemantels het bij de opener eerder bij glooiende death metal hielden, doet de titeltrack er een schep agressie bovenop. Alsof ze met het zwaard van Damocles alle banden met hun doomreputatie weghakken en neersabelen. Met uitzondering van het krachtige einde van Broken Wings en het expressieve refrein van het vrouwmens met de doodswens is het één en al grunt- en screammassief.
Moest er na twee zulke wildebrassen geen vintage Marche Funèbre-grafrede, met toch ook weer een deathmetalreprimande waar de Sint-Romboutskathedraal naar het schijnt nog steeds van aan het nazinderen is, volgen; we hadden gemeend dat er een verkeerde groepsnaam op de hoes gedrukt had gestaan. Al is dat bloedstollend ontroerende eindrequiem er wel heel abrupt aangehangen. Dat is dan wel weer speciaal en dat mag als het je tiende verjaardag is, hebben we iemand in de eerste paragraaf bij de kapper horen zeggen.
De cover As I Die van Paradise Lost klinkt wegens een andere tuning een tikkie vreemd, maar is krachtiger dan hoe de originele uitvoerders die tegenwoordig spelen.
https://zwaremetalen.com/albumrecensies/marche-funebre-death-wish-woman
Auf ins Heimatland der Pommes Frites, Belgien und zu den Antwerpenern von Marche Funèbre, die im Oktober 2018 ihre neuste EP vorgestellt haben. Dabei kann die 2008 gegründete Formation, deren Mitglieder man unter anderem von Soul Dissolution oder Axamenta kennen könnte, auf bereits 3 Alben, 2 Splits und eine weitere EP zurückblicken. Mit „Death Wish Woman“ setzen sie nun dort an wo sie aufgehört haben.
Mit seinen vier Songs, von denen sich eines als Paradise Lost-Cover entpuppt, kommt die Scheibe trotzdem auf eine knappe halbe Stunde Musik. Hauptverantwortlich hierfür zeichnet sich der fast 13-Minütige Track „A Departing Guest„. Musikalisch bietet die Scheibe eine ordentliche Mischung aus hauptsächlich Death und Doom, der gelegentlich etwas angeschwärzt wird. Sofort fällt einem die bombig fette Produktion auf, die der EP die nötige Energie und Schwere mit auf den Weg gibt ohne die leichteren Momente zu unterdrücken. Die Instrumente haben viel Spielraum für sich und auch der Gesang kommt nicht zu kurz, alles in allem ein runder Mix, der der abwechslungsreichen Musik sehr entgegen kommt. Wie bereits erwähnt gibt es hier Death/Doom auf die Lauscher, der mal klassischer nach Doom, mal mehr nach Death und mal nach einem Mix ala Paradise Lost und Konsorten erinnert. Donnernde Death Metal-Riffs und tiefe, heisere Growls treffen auf schwere Brocken und träge Schwere, die immer wieder ziemlich schöne Klargesänge parat hält. Dabei wirkt das Album trotz der immer präsenten Schwere durch interessantes Riffing und Melodien erstaunlich locker. Vor allem der Epos „A Departing Guest“ vereint so ziemlich alles in sich was die Band auf der EP zu bieten hat. Ja, auch das leicht angeschwärzte mit gequälten Schreien, die zugegeben fast nie zum Einsatz kommen, und ein paar dem Black Metal entliehene Riffs und der gelegentlich ruppige, kratzige Gitarrensound der mit selbigen einher geht. Dazu gibt es im Titeltrack ein paar Blues Rock/Classic Doom-Momente, die sich erstaunlich gut in den Gesamtsound einbetten. Auch das Paradise Lost-Cover zum Abschluss der Scheibe klingt rund und überzeugt auf ganzer Linie, denn die Band schafft es der rockigen Nummer einen eigenen Stempel aufzudrücken.
Insgesamt liefern die Belgier also eine stimmige EP ab, die Freunden des Death Dooms sicher zusagen dürfte. „Death Wish Woman“ bietet hierbei die komplette Palette des Genres, indem es mal mehr Richtung Doom, mal Richtung Death geht, hier etwas angeschwärzt wird, da etwas classic Doom und Rock zulässt und dabei doch in sich rund durchläuft. Marche Funèbre gehen ihren Weg, wer möchte mitkommen?
https://metalviewer.wordpress.com/2019/03/13/marche-funebre-death-wish-woman/
In attesa di ascoltare il nuovo Lp dei belgi Marche Funèbre, la band ha pensato di regalare ai propri fan, nell'autunno 2018, un EP ('Death Wish Woman') di una mezz'oretta che tenesse calde le orecchie degli amanti del death doom del quintetto di Anversa in vista dell'inverno. E cosi, ecco tre nuove tracce più la cover "As I Die" dei Paradise Lost. E proprio ai primi vagiti di Nick Holmes e compagni, la band belga sembra rifarsi, anche se francamente siamo lontani dalla genialità dell'act britannico. "Broken Wings" è una stilettata death metal, solo leggermente sfiorata in qualche soluzione atmosferica, dalle reminiscenze doom che fanno parte del bagaglio dei nostri, mentre a livello solistico, i punti di contatto con il "Paradiso Perduto" si fanno più forti. Con la title track, il registro non sembra cambiare: ancora death secco e diretto ad inizio e fine canzone, mentre nel bel mezzo del brano fa la sua comparsa una voce pulita e una ritmica più adeguata ai canoni dell'ensemble, che ci riporta in mente i Candlemass più epici. "A Departing Guest" è un viaggio di quasi tredici minuti all'insegna di un doomish sound che questa volta evoca i My Dying Bride, ma la song è cosi lunga che nel suo malinconico svolgersi, si possono scorgere altre influenze, soprattutto nel dicotomico uso della voce, sia in pulito che growl e nella comparsa di atmosfere dal sapore quasi stoner che cozzano un pochino con le più intransigenti accelerazioni death. Non so, non mi convince granché, mi sembra un po' troppo eterogenea, anche quando le chitarre nel loro rifferama, celebrano nuovamente i primi Paradise Lost. E si arriva finalmente a "As I Die", visto che ero curioso di verificare come i Marche Funèbre avrebbero modificato il mitico brano dei PL: se nulla cambia da un punto di vista prettamente strumentale, è a livello di cantato che la song ne esce penalizzata, non tanto quando il vocalist dà libero sfogo al proprio growl, piuttosto quando usa il clean o continua a ripetere "As I Die", mah da rivedere. Alla fine mi sento di dire che 'Death Wish Woman' è un lavoro raccomandato solo per i fan del combo belga, per gli altri, il suggerimento è di ascoltarsi i precedenti full length dei nostri.
https://thepitofthedamned.blogspot.com/2019/06/marche-funebre-death-wish-woman.html
Jugando un poco al despiste nos llega la nueva grabación en formato EP de los belgas MARCHE FUNÈBRE, banda que lleva en activo desde hace más de una década. Dos álbumes completos, dos Splits, un Single y dos EPS, último de cuyos cuales es este Death Wish Woman, basado en la novela Broken Wings del escritor libanés Khalil Gibran.
La edición es de GRIMM DISTRIBUTION; CIMMERIAN SHADE RECORDINGS y SATANATH RECORDS. El excelente artwork es de ALEX NORMAN y la edición en CD (creo que también cassette) está cuidada hasta el mínimo detalle, con su Obi de rigor.
Hablaba de jugar al despiste y la razón es que a pesar de estar catalogados como banda de Death/Doom a mí me ha parecido una cosa totalmente distinta. Cuando pulsas Play y suenan los primeros acordes de "Broken Wings" sí que suena a Death/Doom. Patrones característicos con incursiones al Death sueco, base rítmica potente y un tempo bastante más elevado de lo habitual... pero ojo, (o más bien oreja)... el doble juego de guitarras es muy, pero que muy cercano al Heavy Metal de toda la vida, y es aquí donde empiezo a sospechar cosas.
Las voces de Arne Vandenhoeck muy bien ejecutadas con registros cercanos a los IN FLAMES por ejemplo cuando tira de agudos, pero en sí, a quien recuerda es a una especie de Nick Holmes. Y claro, esos punteos de guitarra en los entresijos de una base rítmica tan épica pues hace que mínimo te acuerdes de algún que otro dios de la NWOBHM pero en clave Death.
El doble bombo que abre la homónima "Death Wish Woman" adquiere un tono más blacker, lo que resalta también en las voces más rasgadas. Es en los cambios de tiempo cuando más empiezo a entrever unos característicos acercamientos a CANDLEMASS y joder!!!!.... de repente unas voces a lo KRUX, SOLITUDE AETERNUS me pillan totalmente descolocado. Sin casi solución de continuidad se mezclan gritos Black con aspectos del Traditional Doom, para luego remachar con voces ultragorrinas del inframundo. O sea, el cuerpo del tema es metal extremo, mientras que los coros bajan el ritmo hacia el Heavy Doom.... y no queda del todo mal y qué diablos, para eso son los EP, para hacer lo que te venga en gana.
"A Departing Guest" es uno de los temas que más me gustan. Abre a lo MY DYING BRIDE con esa letanía a las guitarras tan propia de los ingleses. Entra la voz limpia alternando con susurros guturales en una curiosa mezcla entre Heavy Doom y ese doble bombo tan genuino de MDB.... hasta en algunos aspectos la voz se asemeja a la de Stainthorpe. Sin embargo, el corte vuelve a acelerarse y estamos otra vez en terrenos suecos. A pesar de haber escuchado ya decenas de veces el EP todavía no tengo claro cómo catalogarlo.
Se trata de una grabación que marca un aniversario, hecha ex profeso para la ocasión y que bueno, aúna todos los elementos de MARCHE FUNÈBRE a modo de recopilatorio. La versión de PARADISE LOST que tocan en sus conciertos queda para la posteridad ya en estudio y bueno, siendo "As I Die" que voy a decir.... tocar estos himnos es arriesgado.
A mí, el EP me ha gustado, pero lo noto demasiado disperso. MARCHE FUNÈBRE son una grandísima banda de una escena (la Belga) de la que suelo estar al tanto de lo que va saliendo. Una calidad a raudales como se puede atestiguar en Death Wish Woman, especialmente en ese tercer corte que es una delicia. Sus más de 10 minutos acaban en una apocalíptica y redentora muestra de cómo aunar etiquetas con sutileza. El único problema es que las partes Old school rezuman demasiado a la Trinidad Inglesa y esos no hay quien los imite.
Con todo, una edición muy interesante.
https://lamuerteteniaunblog.blogspot.com/2019/05/marche-funebre-death-wish-woman.html
VERDIKT: Death Wish Woman je dobré album, které by mohlo udělat radost nejen ortodoxním fanouškům ostřejšího doomu staré školy. Slabinou je přílišné opisování od veličin žánru a určitě i stopáž. Chtělo by to větší prostor.
Připadne mi, že píšu-li recenzi na nějakou promo nahrávku, hodnotím vždy přísně a body jsou podstatně níže položené než u desky z volného výběru. Je jasné, že do volného výběru si my pisálci, co nejsme placeni ani od hodiny ani reklamou, vybíráme většinou to, co nás oslovilo nebo album kapely, kterou sledujeme nějaký čas. Jsem rád, když se mi do rukou dostane promo, které neberu jako ztrátu času a má mi co říct i za nějakou dobu. Tuším, že mezi taková bude patřit i recenzované EP belgických death/doomových Marche Funèbre nazvané Death Wish Woman.
Tuto parádičku nám zaslali ze Satanath Records, kteří mají Marche Funèbre ve své distribuční síti. O vydání samotné se postaralo ukrajinské vydavatelství GrimmDistribution a že se nejedná o žádná béčka, svědčí i profesionální zvuk Klangschmiede Studio E, kde nahrávala taková esa jako Empyrium, Ahab, Amesoeurs, Mourning Beloveth nebo kdysi Green Carnation. Uf, co? Vše pak pod dohledem samotného Markuse Stocka, který se chopil jak zvukového inženýrství, tak mixu a masteringu. Na výsledku je znát, že mít pevný základ někdy není všechno, ale v tomhle případě ano a třikrát ano!
Death Wish Woman vyšlo už v loňském roce, ale bezesporu stojí za to, připomenout jeho klady i zápory, kterých naštěstí není mnoho. Marche Funèbre existují cca jedenáct let a sází na ostřejší avšak hodně melodický mix deathu s doomem. Osobně v jejich hudbě slyším i odkazy k řecké dravé melodice takových Rotting Christ. Nejblíže mají ovšem pánové k jiné legendě a natvrdo se k ní hlásí cover verzí na závěr desky. Zřejmě nebude mezi čtenáři nikdo, komu by při vyslovení názvu As I Die nenaskočila husí kůže. S předělávkami se to má většinou tak, že jsou k smíchu nebo pláči. Málokdy dopadnou dobře. Marche Funèbre se sáhnout na nesmrtelný kult vyplatilo. Ctí vzor bez výhrad, ale svým způsobem ji představili v ostřejším světle a myslím, že i taková podoba As I Die velice sluší.
Death Wish Woman není jen o As I Die. Jedná se o čtyřpísňovou nahrávku o půlhodinové stopáži. Marche Funèbre do úsporné hrací doby dokázali našlehat intenzivní silou kytarovou melancholii s neutuchající energií. V death/doomovém světě nejsou razantní bicí pravidlem, což Marche Funèbre asi nevěděli a pěkně ji tak rozdováděli. Při poslechu Death Wish Woman si s úsměvem poklepávám do rytmu a mít háro, pěkně ho roztočím. Vrcholem se mi jeví bezmála třináctiminutový monolit A Departing Guest s naprosto skvělým epicky doomovým začátkem, při kterém se srdce tetelí a tklivou sólovou vyhrávkou …
A barren woman, looked upon with disdain
An enemy to her substantial man
Detested and deserted
He wishes her death.
Jak jsem naznačil, album stojí na kytarách. Jedna hrne kila a druhá si trylkuje nad spodkem. Ani basa však nezahálí a nedrží se pouze rytmické sekce. Tak to má být! Skladby tím pěkně košatí. Pochválit chci také šikovné pěvecké linky se střídáním hrubého štěkání s klenutým čistým heavy hlasem. Zpěvák nepotřebuje fistulky a ječení, aby dosáhl vysokého hlasu. Ten je pevný a ohebný a trochu mi svojí náturou přitahuje Marche Funèbre k dalším ikonám a sice Candlemass.
Death Wish Woman je výborné album, které by mohlo udělat radost nejen ortodoxním fanouškům ostřejšího doomu staré školy. Věřím, že se kapela svých vzorů pustí a pak se budou dít věci. Škoda, že není deska delší. Užívám si ji.
http://www.echoes-zine.cz/recenze/marche-funebre-death-wish-woman-ep
Отличная новость. Лейбл GrimmDistribution выпустил вместе с американским Cimmerian Shade Recordings крайний на настоящий момент продукт бельгийцев MARCHE FUNEBRE. Которые излагают в стилистике артистичный дум-дэт. В команде всего пять человек: и есть основной вокалист, и басист еще на бэках отрабатывает. Это я к тому, что вокалов в этой работе несколько, и они все очень заметны на этой стОящей бельгийской фюнеральной пластинке.
Группа уже 11 лет как выпускает отличную музыку, участвует во всех мыслимых фестивалях, профильных и не только. Это говорит в пользу состава, потому что истинные артисты всегда стремятся донести результат до слушателя - И ВЖИВУЮ. Есть, конечно, исключения, но они только подтверждают …
Да, это большая эпишка - более 30 минут сногсшибательного материала, а вот третий альбом MARCHE FUNEBRE - 2017 года - Into the Arms of Darkness был выпущен Moscow Funeral League. И возможно именно тогда я познакомился с этим замечательным коллективом. А может и ранее, не исключаю.
Вот цитата из того отклика: «Неудивительно, что MARCHE FUNEBRE за время своего существования более ста раз выступали на концертах, гастролируя активно и оставляя свои похоронные следы где только возможно. Не в малой степени это и обусловило тот факт, что релизов всего у банды пять, три из которых полноформатные полноформаты, если вы понимаете, о чем я. Например, этот - тотальным временем около часа. Что, конечно, мотивирует. И не ошибетесь... хотя бы из-за того, что команда, разрабатывая свою стилистику, давно вылезла из истлевших пеленок дэт-дума, примеряла разные размеры, направления, азимуты и лопаты для извлечения грунта. Марш-то специфический».
Ни секунды не сомневаясь, мощно, дум-дэтово начинает MARCHE FUNEBRE и на этом диске на трэке Broken wings. С небольшого разбега, который напоминает издали устройство: мощную рогатину, в которую зарядили подожженную покрышку, а потом выстрелили... Она летела далеко, высоко и наконец тяжело упала на землю, оставив дымовой след, и продолжая полыхать дэтовыми гитарами, извергая несколько сильных адекватных вокалов. Первый - среднечастотный гроул, который вырывается как пламенный укус горелки, потом он пристраивается к ритм-секции по скорости и понемногу двигается к харшу. Чуть далее в этом же треке два экстрима встречаются в диалоге, но ближе к середине заявляет о себе и чистый СИЛЬНЫЙ паверный вокал. И если гроул — сварка-горелка, то чистый - это убойная электросварка большими электродами на хорошем ампераже. Реальность такова, что в этом чистом вокале Арне может интонировать так, как ему вздумается, выбивая слезу у женского легиона металлического сообщества. И если в первом трэке чистый вокал - только несколько швов в середине и в финале, то уже понятно, этот певец козыря сразу не сбрасывает. В первом же треке, кроме мастерской многоугольной ритм-секции и сопутствующих риффов гитар, отмечены волнующие сердце металлеров сольные партии.
В трэке Death Wish Woman вокалист гораздо больше поет чистым, ультра-думовым голосом прямо из 70-80-х, и что замечательно - словно дублирует потом экстремальным вокалом. И вообще я заметил, и вы заметите, вокалисту будто не составляет никакого труда при переходе от этого голоса к другому. Инструментальная часть здесь безупречна, массивна и ажурна одновременно.
И еще, мне показалось или нет, но тема такова: - от чистого дум-дэта начала альбома композер двигался подспудно к шикарному сложному трад-думу 80-х. Главное, - что все движи были поддержаны профессиональной работой музыкантов.
Финальная компо As I Die (Paradise Lost cover) — дань уважения старшим коллегам по жанру. Исполнена она вдохновенно, и Арне показал себя и здесь, а инструментально ребята просквозили еще одну дыру в Ад. Кажется, что за такой кавер там дают почетную грамоту.
https://vk.com/wall216331265_3841
A rather strange form of death/doom out of Belgium, emphasis on the former.
Occasionally frontman Arne Vandenhoeck belts out some warbling clean vocals like you might expect from trad or gothic doom, but mostly it’s straight up (if snotty sounding) death growls.
And while that’s not a problem for this corner of the doom genre, what is is just how rarely the band ever attempts to play any variant of doom whatsoever. That Paradise Lost cover aside, the first minute or two of “a departing guest”? That’s all she wrote, kid.
Best track is the title track, as it features most of Vandenhoeck’s aforementioned doom vox…too bad the band never gets the cue and pulls back on the death metal!
Everybody knows Carmina Burana by Karl Orff, and especially the O Fortuna fragment, for it has been used hundreds of times before as intro on a (demonstrational) recording or for a live gig. But one of the best-known classical pieces, and one of the most covered ones ever (also in other genres than Metal), more than the aforementioned piece, must be Marche Funèbre (aka The Funeral March) by Polish classical composer Fryderyk Franciszek Chopin aka Frédéric François Chopin (French name, for he lived in France for the better part of his life). For the happiness in the atmosphere, some friends from the region around Mechelen (in between Antwerp and Brussels) that wanted to play Doom, decided to call their new band after that inspirational song. So, in 2008, the band Marche Funèbre was born.
Throughout the years, the band (with quite a stable line-up, by the way), played a lot of gigs, and they released several highly appreciated albums, totally dedicated to the stripped-off roots of the traditional Doom-Death Metal scene. To celebrate their tenth year of ‘being around’, the quintet entered the famous Klangschmiede E Studio in January 2018 with nobody else but top-producer / engineer / mixer / master Markus Stock (also a talented musician in some truly interesting bands). On top of it, they decided to have the better part of their lyrics based on the Kahlil Gibran novel Broken Wings (with splendid artwork by Alex Norman, inspired by this novel) and to do a cover of one of their main influences and sources of inspiration (Paradise Lost; see further). Eventually, they signed to GrimmDistribution, part of the Satanath Records family, and in collaboration with Cimmerian Shade Recordings, the four-track EP Death Wish Woman got released in an edition of 500 copies on compact disc. There is also a tape-edition, and of course you can find this material via the known digital sources via the labels’ Bandcamp pages.
Death Wish Woman is an EP, yet it clocks almost half an hour. It consists of four tracks that go on in the vein of all older stuff. First piece is Broken Wings, which starts in a semi-acoustic way, soon turning into a monstrously heavy and oppressive thing. The atmosphere is dense, bleak and onerous, with that classical feeling of both sadness and anger, both melancholy and conviction. A couple of things a remarkably striking: the few obtrusive harsher excerpts (which are well-balance in combination with the slow-paced majority), the fierce solo, the wide variety vocal-wise, and the sound quality. I come back to the latter soon. The second piece, which is the title track, surprises immediately with its enormous energy and power, and that monumental yet ultimately blackened touch of misery. I am impressed by the bass lines, the huge force of drum patterns and guitar leads, and the vocal variety, with blackened screams, deep grunts and cleaner ‘sung’ vocals. A Departed Guest is much more ‘traditional’, mingling the roots of the scene (think everything in between My Dying Bride, Katatonia, Novembers Doom and the likes), and therefor a piece that comes the closest to the former works of Marche Funèbre. The woeful, even doleful, yet harsh, explicit lyrics (taken completely from the Broken Wings novel) are exceptionally perfectly defined by the sonic performance. And what a classy final part, so breath-taking and intense at once.
Besides the three new (and own) songs, this jubilee album brings the listener a cover track of Paradise Lost’s As I Die, from the Shades Of God album. It does sound like the original for sure, yet then again, Marche Funèbre add an own twist, with some subtle and some more distinct own-faced accents. Somehow, for some reason, this cover song fits to the EP, even though it does not follow the concept created through the first three compositions. Yet as bonus it is a fun thing to experience.
For some reason, the technical side of the guitar play did progress enormously, with an increased skilled performance. No, it is not ‘progressive’, yet more defiant than ever before. There is some more variation in general too, within tempo, song structure, execution and atmosphere. And then you have that professional sound result from the prominent Klangschmiede E Studio. The aural quality of Death Wish Woman is very high. Marcus Stock did, once again, a great job, being able to give this album a monstrous sound. Doom-Death needs that focus on the rhythm section so hard, for otherwise the leads / solos and voices would overpower the rest, and minimalize the whole background instrumentation. Here that’s not the case. Besides, the production is enormously ‘clean’. And you might know that I can’t stand a ‘clinically clean’ production in normal circumstances – and that’s still the case. Here, however, the decency overrules the artificial over-production, still injecting the whole with a certain rawness and grimness. Especially the backing strings, therefor, come into their own. And the lack of exaggeration too makes the powerful recording quality of a high level.
https://www.concreteweb.be/reviews/marche-fun%C3%A8bre-0
Back in 2017 I interviewed this band. I don’t remember what it was that made me do that but hearing this new EP I kinda get why. This is being described as doom but to me this is pure fucking black metal. Albeit with doom touches but then many bands have that without being called doom. This is epic in sound. I don’t know to describe better than it feels like the music is a building with a very high ceiling. That is the feeling I get from listening to this. That greater than God feeling. This one is a keeper.
http://battlehelm.com/reviews/marche-funebre-death-wish-woman/
This four track EP marks the 10-year existence of the Belgian doom/death metal quintet. It lasts 29 minutes and besides the three own compositions it also includes an especial cover on Paradise Lost's steady classic "As I Die". The lyrics of "Broken Wings", "Death Wish Woman" & "A Departing Guest" are entirely based on the novel "The Broken Wings" by renowned Lebanese writer Kahlil Gibran. The music itself was built upon rather tasty guitar melodies that mostly tend to the slow, sludgy, heavyweight riffs (1st and 3rd tracks), but they also can turn into crazy galloping ones like in the case of the title track and thanks to that those parts reminded me very much Immortal. The ultra-deep growls and the fairly pitched screams have been precisely dosed throughout their repertory, but somehow the Nevermore-like clean vocals I found totally unfit and weird in their songs. By the way, hats off to the rhythm section, they've done an awesome collaboration there. I have to mention the superb artwork of Axel Norman too as it was very carefully and thoroughly created to fit the lyrical content. As a whole this EP rules supreme!!!
http://castrum.com.ua/encomium/6albums1.htm
Os Anos 90 nunca estiveram tão vivos como nos últimos anos, principalmente de 2010 pra cá, acho isso maravilhoso, centenas de bandas estão mantendo viva a chama, a magia da década mais incrível da história da musica extrema.
E essa continuidade não está apenas no death metal,mas também em vários outros estilos como o doom metal.
Se você aprecia a sonoridade de bandas clássicas como Paradise Lost, My Dying Bride, Anathema e Katatonia, ficará totalmente fascinado pela Marche Funèbre, grandiosa banda que só agora tive a maravilhosa experiência de ouvir com maior atenção, uma verdadeira pérola do doom metal.
Não poderia de destacar o maravilhoso cover de "As I Die" do Paradise Lost, um dos melhores covers do Paradise Lost que ouvi na vida. Impecável!
https://questoeseargumentos.blogspot.com/2019/12/resenha-marche-funebre-death-wish-woman.html
Apparently a woman with a death wish is one who decides to become a mother. Just look at the cover artwork for this 2018 EP from the doom act from Belgium.
Well, the band is quite correct of course. With that said, how is this four-track EP? Firstly, it is comprised of three original songs and a cover version of Paradise Lost’s As I Die, which stems from 1992. The band is mainly doom metal, but mixes in upbeat or fast moments into the compositions. What is different here are the clean vocals and chants which come out of nowhere and turn things either better or mushy – depending on your perspective. The death growls and metal are raging forward when the whole shebang comes to a skidding precipice with distinctly heavy rock-style singing ringing in. It is something that somewhat works although one would recommend against most bands trying it. Elsewhere the bass guitar is quite distorted and loud. Kudos to Boris Lolis for his attack.
Doom/death enthusiasts who prefer variety over purity have something in Death Wish Woman.
http://metallian.com/marchefunebre.php
Mache Funèbre is an Austrian-based quintet that, since the year 2008, has specialised in mixing together Doom and Death Metal music in order to create a suited vessel to express their views on literature, grief and philosophy – In this case, specifically the book ‘Broken Wings’ by Kahlil Gibran. This is done through three individual tracks (and rounded off by a bonus song), adding up to just below thirty minutes overall.
Musically, their record label describes Death Wish Woman as being ‘both their fastest and slowest album to date’, referencing several different musical influences along the day – The most notable in regards to similarity and association being My Dying Bride and Paradise Lost (the latter of which is honoured even further through a cover version of their song ”As I Die” on this very album).
Death Wish Woman marks the ten year anniversary of Marche Funèbre and, as one would expect in such a case, is a very well-produced and well-performed release – Even if the EP format does make it rather short.
All in all, the band has managed to take the fast-paced as well as the tenacious aspects of Death Metal and mixed it together with the twangs and screaming notes of Doom Metal and slapped it onto a Lebanese written masterpiece, in order to create quite a decent, albeit somewhat special, release – As I am sure ”Broken Wings” (found below) will attest to.
Recommended for fans of Paradise Lost and My Dying Bride.
https://www.metal-revolution.com/reviews/marche-funebre-death-wish-woman