Year: 2021
Total Time: 1:00:02
Label: Napalm Records
It has been almost 5 years since the latest release of the Australians BE’LAKOR, the album “Vessels” of 2016, which had caused a global impression, entering many lists for the best releases of the decade. “Coherence” finds them again on the well-known melo-death paths, without any change in the roster of the band. Truth is that all those years BE’LAKOR have been consistent in their sound and tendency to mix all the Scandinavian sounds, without becoming overly annoying or just a replica, by adding a lot of personal details.
With the opening track “Locus” they really want to show their teeth, proving that all this wait was worth it. BE’LAKOR never hid their love for OPETH, since in “Foothold” all the elements that the Swedish fans and non-fans loved are present. On the other hand, there are also the black metal explosions that are mostly welcome, a fact that makes the perfect contrast with the mid-tempo foundations that the band has set. In this album the guitar work is exceptional and well-structured which helps the Australians to maintain their hard-earned status that they’ve acquired over the years.
They manage to bridge the elements of previous releases with, perhaps, the most mature riffs they have ever written as well as the majestic finishes, especially in “Valence” and “Much More Was Lost”, which ideally closes the album. But there is also a beautiful and smooth stratification especially in how the guitars interact with each other, in how they converse, in how they open a dialogue with a characteristic northern Hellenic relaxation, but also a frightening immediacy. The use of blast beats is relatively limited, although it should be increased to give this extra aggression and impetus. However, it seems that despite embracing all the Scandinavian clichés of the idiom, BE’LAKOR tends to reach out to a more progressive audience. This is evidenced by the existence of 3 interludes who hope to divide “Coherence” into 3 different thematic sections. In my ears these fillers sound unnecessary and this is the main disadvantage since the coherence is lost and the album becomes unnecessarily long.
Perhaps with shorter compositions, BE’LAKOR would have released a landmark album and shown the Scandinavians how to play the direct and aggressive as well as sensual melodeath. Also, the voice of our distant compatriot George Kosmas in several places sounds monotonous, and seems to ground the compositions that seem to want to be elevated. Jens Bogren’s production is full, voluminous with a thicker and less sharp sound as we met in “Vessels”, allowing the rhythm section to sound solid but without giving the extra boost. In the end, the long compositions have a negative effect on the consistency of the album, whereas the shorter ones serve the purpose better without tiring the listener.
I’m pretty sure that BE’LAKOR fans would have already placed ‘Coherence’ inside their hearts. But if a new listener would like to get in touch with BE’LAKOR, I would not recommend ‘Coherence’ but “Vessels” instead. I have the impression that they got lost somewhere at the crossroads between progressive and melodeath, missing the opportunity to release a monumental album for at least the decade that has just begun.
Rating:7/10
Editor: Dimos Karadimos
Related Link: BE’LAKOR – Official Page
