Now in their third album, French band Lethian Dreams seem to have found an ideal compositional formula, finally entrusting all the vocal work to the talented Carline Van Roos, thus renouncing to the obvious dichotomy created by the male growl. This is a very good choice, considering that the vocalist herself and Matthieu Sachs are also the driving forces of Remembrance, authors of the excellent Fall, Obsidian Night a few years ago, decidedly shifted to funeral death doom versants, and the choice of not slavishly replicating certain stylistic solutions avoids making the two bands too similar. Red Silence Lodge, in fact, is a mature and elegant test that blends the most atmospheric doom with gothic moods and with the most dreamy post metal (as it happens particularly in Shades), and it’s frankly difficult to find particular defects in a work that, finally, sees a singer put herself at the service of the music instead of monopolizing the attention with boring or even annoying warbles, as it happens too often in similar occasions. Carline has a voice that is more persuasive than emphatic or powerful and this, paradoxically, makes her the ideal vehicle for conveying the emotions that Lethian Dreams offer in profusion on this beautiful album. Ethereal music for sensitive souls, no doubt, but in spite of this Matthieu has not forgotten his electric guitar in the closet and often heavy riffs, accelerations and fine solos intervene to remind us that we are still in the presence of a band playing metal, however melancholic and evocative it may appear in most of the moments, as it happens in an exemplary way in Leaving Light. Starting from the beautiful title-track, from the passages that denote a good knowledge of the monumental Dead Can Dance, up to the last note of Black Winds, Lethian Dreams give us an album with pastel colours always mixed with a melancholic grey that is its fundamental base. Red Silence Lodge is a work that surely deserves much more attention than some cheap and commercial gothicism that is proposed to us all too often; so give yourself, without any hesitation, these three quarters of an hour of inspired lyricism.

2014 – Orcynia Records