Seven

Some masterpieces sprawl; others are polished gems. Seven is the second kind. The intricate syncopation and flawless guitar work of the first track makes it clear that every detail of this album was poured over.

What we have here is a rollicking ride in the style of Aephanemer's Prokopton, an album that I fell in love with in 2019. The growly voice, the orchestral soundboard, the catchy hooks, and the brilliant arrangements are obvious similarities, but there are some interesting differences too. Aephanemer seems to take its inspiration from fantasy: the hero's journey, the broken sword, etc. Mors Principium Est is preoccupied with death. The imagery is gothic and frankly demonic to an extent that made me uncomfortable. Ah well, so it goes. We can't pick our muses.

One more important difference: with Aephanemer, the star is usually the vocalist. On this album, we have a very special guitarist. Two, actually, often playing in union. I often dislike technical music when I feel like a guitarist is just showing off. These guitarists are showing off yet it doesn't bother me because the amazing stuff that they're doing is subordinated to the orchestration. They have room to breathe, but not too much. The whole album is tight--just forty-eight polished minutes. If you want an example of the amazing guitars, try "Lost in a Starless Aeon." They will blast you off your feet right away.

This has everything I want in a top-class album--solid top to bottom, with some stunning tracks that uniquely belong to the band and seem like they could have been made by no one else. I haven't talked about the vocalist at all, but he has some special moments, too, and there are certain tracks that must feel fantastic to perform. "Master of the Dead" is probably the best example: I still think the orchestration and the guitars are doing more half of the work, but the verses have some rhythmic twists that work well with the growl.

Overall, an easy choice for album of the month.