Album Review: Crippled Black Phoenix - Sceaduhelm
Reviewed by Oli Gonzalez
Well, there’s unorthodox, there’s far left field…and then there’s Crippled Black Phoenix! Beginning life in 2004 as an expansive musical project that was never designed to conform to typical musical boundaries, they blend post rock, gothic, and progressive metal in a mix that truly is hard to define. Though “Sceaduhelm” provides an insight into this collaborative and ambitious project.
Things kick off with ‘One Man Wall Of Death’. The use of voiceovers can add real intrigue and an extra dimension to a band that instruments just can’t. Sometimes they’re just straight up annoying and prove to be an unwanted distraction. The voiceover here is very much of the latter, playing over what is a very promising and potentially very enjoyable delicate progressive rock passage. It’s unclear what purpose it serves, and is almost like somebody talking at the cinema when you just want to watch the movie! Though when the voiceover finally clears off, the dynamics shift and we’re treated to a much more cathartic and atmospheric burst to close out the song. I was getting a vibe similar to the 70s/80s era of progressive rock that my parents raised me on. The likes of Genesis and Marillion; and that’s only a good thing! This energy continues into ‘Ravenette’, which reveals itself to be a rather infectious and catchy number indeed, especially with those glossy shoegaze style guitar tones! As well as Belinda’s impressive vocal delivery; ethereal and dripping in opulence.
So, a rough start maybe but the momentum is gathering.
Though things get spookier during the opening of ‘Things Start Falling Apart’. Especially with the ominous hypnotic guitar arpeggio and haunting effects that sound like they belong in a 1970s sci-fi movie! Though order is restored and we’re treated to more introspective and cathartic soundscapes which are quickly becoming a signature for Crippled Black Phoenix! What’s also becoming signature is that bleak melancholic undertone which becomes most prominent in ‘The Precipice’. Imagine a Tom Waits style blues ballad, especially with the anguish and palpable pain in the deep rich vocals provided by Justin Storm, and this is what we’re introduced to. All before the gears are suddenly shifted and we find ourselves in a much more uplifting and almost stadium like ballad that washes over you gracefully. You’ll notice that Crippled Black Phoenix don’t really have a fixed lead vocalist and will often swap vocalists on a song-by-song basis to match the emotion and timbre required. This rotation and shifting of vocalists provides a safeguard to boredom and staleness, and speaks to the vast creative reserves that Crippled Black Phoenix possess.
A little bit of calmer psychedelic spiced ambience in the shape of ‘The Void’ provides space for the album to breath. Definitely forming a whole greater than the sum of its parts. The psychedelics stay whilst the Belinda returns to the mic during ‘Hollows End’ and ‘Dropout’. As does the infectious pulse and eerie undertone, much like a Bjork or Julie Christmas kind of vibe. You feel as though tension is building, and is never fully resolved as we’re building towards something greater. Though some of that is seemingly lost with yet another seemingly unnecessary voice over to begin ‘Vampire Grave’ which is pretty uncomfortable to listen to and is better to just skip in all honesty. Though those who stick to this will see that it serves a purpose in setting the scene for a high tempo gothic rock style ballad. The gothic vibes continue through to ‘Colder and Colder’ though the pace slows drastically, and the walls of distortion are replaced with an introspective melancholic undertone. Justin and Belinda share vocal duties here and complement one another exquisitely.
If ‘Colder and Colder’ is melancholic, then both ‘Under The Eye’ and ‘Tired To The Bone’ are full blown serotonin drainers! Genuinely, if you don’t feel anything when listening to the ‘Tired To The Bone’ you may just be a robot, or cyborg. The music is much more stripped back and simple, with the strumming of the acoustic guitar and electronic synths setting the melodic foundations for Belinda’s haunting and ethereal vocals to glide over, where she delivers a performance dripping in raw human emotion and sentiment. This is the stand out song of the album as far as I’m concerned; dark and bleak yet achingly beautiful!
After an album that takes so many bizarre twists and turns, we need something big to end. The rather anthemic chorus and blazing guitars that characterize the final song ‘Beautiful Destroyer’ ends the album on a high; any unresolved tension is released here and provides you with a full brief and closure.
Let’s keep it 100. Crippled Black Phoenix isn’t going to be for everyone. “Sceaduhelm” is as complex as it is challenging, and at times difficult to decipher. Though those who are willing to be patient and take time to crack this riddle wrapped in an enigma will be gifted with an expansive and rewarding journey into the seldom visited and considered recesses of the vast musical spectrum.
