I ran into Bloodred Hourglass when I was exploring some Youtube playlists. Inmediately, they caught my attention so that I searched for some more info about them and their music. Surprisingly, Bloodred Hourglass has been together for a decade, releasing some tracks and EPs, but only has released two complete LPs in recent years, starting to get a bit more notable in the vast sea of Finnish extreme metal. Indeed, they surely deserve this notability, since the album I’m gonna talk about is one of the best I’ve heard in months, even in a couple of years, and I can’t help but listen to it again and again, non-stop, because it has everything to build a work that lies close to perfection and makes clear that these guys know what they’re doing and have a lot of experience in terms of this genre.
Where the Oceans Burn (2015), is the second album released by the band, and as I stated before, it’s really close to perfection. Why? Well, one of the things I appreciated most are the three ten minutes long songs that it includes, which are a prodigy of variations, and that no way turn boring or abrupt, something really hard to achieve. Then, the variety of rythms and changes used are incredible, plus guitar is very consistent, with great riffs, solos and melodic leads which brings lots of epicness. And finally, one cannot miss the atmospheric effect accomplished by an awesome keyboard that masters the use of synthesizers and symphonic elements with contemption and in the right times.
Because, who else could start an album with a ten minutes long song without screwing it? Yes, this is the case of the open track titled The Greatest Time of Change, which starts silently and desquiting to then delight us with a continuous of changes in rythm, riffs and mood. The second track, Valkyrie, is a melodic tune with a catchy chorus that gets to the point without many walkarounds. Then, Mortal Paradigm makes the album speed up and leave ‘catchiness’ aside for rougher approach. The first highlight of the album for me is There will be blood. The synthesizer intro is epic like the moment a duet of guitars breaks in. Another point to take into account is the pre-chorus led by keyboards and the final part. Where the sinners crawl is the song I like the least in the album, as anything about it specially got me, and maybe this is because it’s placed between two epic songs in the album, because the next one, Oceans on fire, is also one of the best. The music seems to take a more metalcore tone, with awesome vocals and keyboard (again) and the final part includes a great and unexpected, heavy rythm change. Bastard’s seed is the second ten minutes song. Sweet intro, smooth changes, speed and impressive coda. Ethereal follows a more classic melodeath schema and keeps a constant epic atmosphere. Perdition makes a funny tune to me, because the melody guitar follows in the verse and chorus is kind of happy and playful and, also, they seem to follow a metalcore approach regarding rythms in some parts. And finally, the last treasure, Memento Mori. Maybe the changes aren’t as smooth as in previous tracks, and I specially hate the last one, it seems to me abrupt and unnecessary, but the epicness and expression level reached is enough reason to forgive this errors.
So, my advice is that, if you haven’t yet, go and listen immediately to this album and let Bloodred Hourglass astonish you with this wonderful musical creation.