Indigo Raven appeared for the first time last year with a self-titled ep, in which the doom matrix of the sound proposed by the duo formed by Benoît Sangoï and Julie Docteur was largely covered by the particular aura conferred by a vocal interpretation apparently in line with the dictates of bands like Jex Thoth, Blood Ceremony and partly The Wounded Kings. These impressions could arise from a superficial listening because, in reality, the sound of the French couple was, if possible, even less appealing than the bands mentioned and with an underlying experimental vein ready to reveal itself more decisively at the next opportunity. The release at the beginning of 2021 of the single Into Dust, a cover of the song recorded in 1993 by Mazzy Star, was striking for its ability to rework a song that in the original version rested on the adolescent tones of Hope Sandoval and the soft acoustic work of David Roback, while in the hands of Indigo Raven it swelled with heaviness and darkness without distorting its essence and emotional potential. Looking For Transcendence, first full length published as the previous song by Argonauta Records, Italian label that is usually a synonym for quality when it comes to propose certain forms of doom, will surprise those who are for the first time in the presence of these transalpine become in the meantime a trio with the entry of bassist Jean Green, while those who have already appreciated the prodromes will note a further evolution of the band in an unconventional and shamanic sense. Indigo Raven exhibit an approach from the riffs rather essential, although powerful, sometimes streaked with electronic punctures (splendid in this sense the second track Palin Genesis), while the evocative voice of Julie does and undoes at will leading the imagination in ancestral places where they are perpetrated indecipherable rituals; the contained length of the work contributes to assimilate the not simple sounds along a series of musically leaden tracks, closed by an alienating but significant episode, Where Lies Our Hearts, in which the singer performs practically “a cappella” with her own overdubbed voice in the background. All this can be enough to attract or repel listeners according to one’s predilections, and it is superfluous to specify in which of the two categories I am going to place myself.
2021 – Argonauta Records