Gràb sings for Bavaria.
Created in this famous German region by Grànt (vocals, Trinitas, ex-Dark Fortress) and now accompanied by Gnàst (instruments/composition, ex-Winterfylleth), the band has signed with Prophecy Productions for the release of its second album, Kremess.
The duo is accompanied by Markus Stock (keyboards/vocals/dulcimer, Empyrium, The Vision Bleak, Noekk), Thomas Helm (vocals, Empyrium, Noekk), Victor Bullok (guitar, Triptykon, ex-Dark Fortress), Florian “Morean” Magnus Maier (vocals, Alkaloid, ex-Dark Fortress), Komalé Akakpo (dulcimer), Peter Honsalek (violin, How We Leave This Place) and Johanna Rehm (flute), depending on the track.
The album gets off to an almost solemn start with a few noises, followed by Waidler‘s backing vocals, quickly joined by warlike percussion and then by dark riffs imbued with that heady Bavarian Pagan touch. Aggression and dissonance are obviously part and parcel of this first composition with its old-school mix, but we find the latter between the mysterious keys of the ponderous Kremess, the eponymous song that starts very slowly and establishes its haunting atmosphere before bursting into flames to bury us under its rhythm. A whinny marks the start of Kerkermoasta, a creation that immediately proves much more imposing but still offers small waves of melodious quietude in the suffocating ocean that harbors both ominous growls and a great, intense tirade. Im Hexnhoiz has a completely different feel, with icy tones joined by soothing melodies, but it’s these alone that respond to the intriguing vocal samples and soaring final that lead into Vom Gràb im Moos. The track begins simply enough, with slow but catchy riffs, then quickly tinges with hints of airy Folk to create a sublime contrast that makes the fury of the vocals almost hypnotic before the drums explode. The gentle final allows us to breathe for a while before Deifeszeig takes over, flooding us with its dark riffs and placing some intoxicating elements in the leads and backing vocals, but is interrupted by Waldeinsamkeit, a very calm interlude where folk instruments accompany us. Da letzte Winter follows, reviving the coldness and distinctive atmosphere that immediately takes over, even as it slows down and opens up space for softer parts, confirming once again the band’s attachment to its roots, both musical and physical, and bringing the album to a gentle close.
Bavaria and its folklore are of particular importance to Gràb, who cover them with a touch of Old School Black Metal to make Kremess an album as chilling as it is disorienting. Close your eyes and you’ll think you’re in the dark forest.
90/100
