Dense, symphonic metal as this deserves a production job to hold it all up, which could explain why Australia’s Rise of Avernus gave American producer/former Machine Head/Soulfly/current Once Human guitarist Logan Mader a call. In context, it’s an interesting combination given Mader’s modern metal roots, but the man has given Rise of Avernus a rather broad lift in this department, making their sophomore foray Eigengrau a rather supple, brash effort, that, if you get down to business, hovers around Septicflesh territory.
The orchestral elements that dominate Septicflesh’s current musical direction hold sway with Rise of Avernus, but, don’t expect a big, hundred-piece orchestral adding to the mix. Instead, Rise of Avernus stays in frame with smart, well-placed keyboard dashes, found on “Ad Infinitum” and the title track, whereupon a rather melancholic middle portion emerges as the album’s real highlight. While some of the tunes flutter and get sidetracked by said keyboards and orchestral happenings (“Forged in Eidolon”), the weight and brutality pomp of “Gehenna,” coupled with the soft touches found on “Tempest” provide enough variety for Eigengrau to hold sway.
It may be of convenience or coincidence that Septicflesh vocalist Seth Siro Anton handled Eigengrau’s cover art, providing yet another tie to the Greek outfit. One can certainly see many trying to make the connection: Greek symphonic metal influencing Australian symphonic metal. We’ve already seen where Septicflesh has taken it. Whether Rise of Avernus with Eigengrau can at least come close remains up for debate.