Idensity
Chronicles

Though seemingly named by the same person that came up with the moniker for fellow Frenchman, Destinity, Idensity is an interesting, ambitious band that delivers a symphonic, goth tinged, orchestrated take on melodic death metal.

Though the violin is the primary instrument of choice via Mayline Gautié, there is some heavy synth usage and the overall sound and tone reminded me a lot of the mid ’90s Nuclear Blast bands like Sculpture and Crematory colliding with Hollenthon. And while on paper, that seems like a tantalizing mix, the inconsistent songwriting leaves the band’s second album falling a bit short, if still interesting at times.

Crunchy mid paced riffs, deep gruff vocals and lots of atmospherics is the road map for these 10 songs and almost 60 minutes of music. Some of it good, some of it forgetful, but all of it lavishly laced with Gautié’s sexy violin and some thick keyboards. Most of the songs have a bit of Middle Eastern flair as the concept of the album appears to be Egyptian in nature, adding a slight Orphaned Land circa Mabool feel (i.e. “Sekhmet”, “Mofa”, “Antikristos”, “Maddhi’s Arrival”), down to some clean croons reminiscent of Kobi Farhi (“Typhon”). None of the songs really get going or pick up the pace, preferring a plodding, steady chug (“Mantra”, “Loki”) or sandy, somber sway (“The Seven Seals”, “Maddhi’s Arrival”) that’s at times somewhat alluring, and others pretty boring.

The guitars are nice and thick and Christophe Ferreira has a solid gruff, growl for the most part, but the songs never elevate or grab your attention, alot like those 90s Sculpture and Crematory songs of old. Even with the gaudy, Arabic atmospheres and Gautié violin, the songs are just ‘there’, not awful or anything, its just I never really found myself sucked in the music or the concept despite the professional finish and polish.

[Visit the band's website]
Written by Erik T
February 12th, 2014

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