Black metal is a primarily male-dominated sport where female interference is not always welcomed with open arms. Although there are ladies like Onielar from Darkened Nocturn Slaughtercult or Cadaveria from Opera-IX who enjoy considerable prestige, women in Black Metal are usually looked down upon a bit condescendingly, and especially if they are successful, it is quickly said that they must have thrown their bodies into the fray for it. Then you have “feminist Black Metal” that is making headlines in recent years, something that many feel has no place in a music genre like Black Metal.
In Givre, however, there are no women in the ranks, nor can the music be considered feminist, yet women are the central theme on this fourth full-length record by the Canadian trio. For ‘Le Cloître’, French for cloister (or monastery or convent), Givre took inspiration from six saintly women, one for each song, and their relationship and struggles with God. Perhaps as a separate idea it is not unique, but as a concept record it is a remarkable choice, all the more so because musically it does not feel feminine at all – if such a thing exists to begin with.
Like Givre’s previous recordings, ‘Le Cloître’ is a work brimming with intriguing and often contrarian riffs and eerie melodies that squirm together like flurries of a feverish dream. Yet, the overall spirit of the album is much more diverse than anything the band has put forth prior, besides the rather recognizable gritty character of the music, Givre now also explores slightly more melodic territories. But not in the sense of your average Melodic Black Metal band, Givre is still very much an entity on its own, so melodies here do translate to an unsettling feeling. Still, it comes across as a little more accessible than the majority of the band’s earlier recordings. But, as said, Givre wouldn’t be Givre if there wasn’t more than meets the ear at first blush. The almost Post-Black Metal-like stretched melodic pieces are hypnotizing and complementing the album’s conceptual core of pain and struggle with the divine.
With the slight shift to a more melodic style, that still leaves enough space for blistering bursts of Black Metal with all the necessary rough edges, Givre has delivered their most mature record to date. Diverse and sophisticated in both its concept as well as overall musical content. The way the band weaves in the roughness of some of their native Canadian Black Metal roots with the stunning melodies makes them quite a standout act in the “Métal Noir Québécois”-scene. If you, for instance, would take a listen to the band’s homage to Hildegard von Bingen (‘Sainte Hildegarde de Bingen (1098-1179)’) you’ll hear Givre’s musical inventiveness and thorough sense for excellent song writing, it truly echoes the very music and poetry of Von Bingen. Another impressive piece of work.
