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Seth – La France des maudits

seth – la france des maudits

Info

Let’s start with this album that was highly anticipated by social networks and specialised Metal pages where along with the publicity of the label and the band itself, they also released a couple of videos, ‘La France des Maudits’. It is difficult for the follower of old Seth to find a work of this type where practically all the details are well taken care of and where they do not leave much room for error or bad timing or unevenness of sound or recording.

The production of this work is of high quality, it is noticeable in the sound achieved that there was investment of time and money in the recording studio. Investigating who had been the sound engineer I found that it is Francis Caste who has worked with Loudblast, Carnal Lust, and many other bands outside the Black Metal field. In short everything sounds good and that may bother the staunch follower due to the drastic change in terms of the ideological and musical vision that the band has suffered in recent years.

The song that opens is the one that gives the album its name, at first listen it can pass for a song by Forteresse or some other Canadian band that go In that line of symphonic Black Metal with lots of atmosphere, layers of keyboards and melodies. The second track ‘Et que vive le diable!’ also follows the same path as its predecessor, the compositional and technical variation is found in ‘La destruction des reliques’ where the work of the tremolo guitars and the ornaments on the cymbals stand out.

Halfway through the tour they have added an instrumental track and thus turn the face of the album with ‘Ivre du sang des saints’ which in comparison to the first two tracks of the work lost the intensity of blast to give way a bit to mid-tempos and a singing and phrasing that rocks in the cradle of epicness.

Something that must be highlighted is that the entire work is vocalised in French as is customary with Seth and in which I always give a point of approval. The memory of ‘Les Blessures de l’âme’ is always present in that language of ancient invocation. The themes of the final part of the work follow the same vein, alternating rhythms, melodies, and accompanying keyboards, which imprint the music with feeling.

Ultimately, this is an album for those looking for well-played Metal, where production and “good sound” predominate, where orchestration plays a preponderant role, and evil (that overflowing and volatile primitive evil of the 90s) has been locked behind the bars of a musicalization that seeks perfection!

Seth

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