Fleurety
Evoco
Bestias
Aesthetic
Death
2011
Norway’s
demonic entities under the alias Fleurety return after many
years undercover with 2 new songs in an amazingly packaged 7”
ep. To my surprise, throughout
these years of absence, Fleurety have stripped off all the
experimental,
electronic sounds their Last Minute Lies
and Department Of Apocalyptic Affairs releases
have, and they return to their more primitive black metal sound. What
has
always made Fleurety unique and given them a very distinct sound from
the rest of
the Norwegian bands is their avant-garde approach to black metal. Of
course,
later many bands mixed avant-garde and jazz influences in their music
and sound
but Fleurety did it from their very beginning with the Black
Snow demo. Both songs in Evoco
Bestias employ great doses of avant-garde perversity that
Fleurety blend in
their music with a unique ability and I dare to say that musically both
songs
are closer to their A Darker Shade Of
Evil 7”
ep and Black Snow demo. What
changes
here are the vocals. The Summon The Beast
track of side A kicks in with a slow hypnotic part and, instead of the
high
pitched vocals of Black Snow and A Darker Shade Of Evil, Ayna Beate
Johansen enters with a beautifully ethereal and melodic voice pattern
that falls
out with the music but at the same time fits so perfectly well. After a
few
moments of a calm and weird melody both Fleurety and Ayna change mood
so
abruptly that the air around you thickens and a storm is unleashed.
Blast beats
and guitar paranoia take control and Ayna is transformed from a sweet
princess
into a filthy witch spewing words in a poisonous and terrific manner.
This part
reminds me a bit of the crescendo in Profanations
Beneath The Bleeding Stars and the paranoia continues until
the end of the
song. Turning to side B and Animal Of
City, Fleurety continue in a fast tempo and the vocals are
handled by
Hatlevik in a very bizarre way; for a moment the song slows down,
giving a
quick breath only to speeds up again. Someone will say that their music
here is
more typical and straightforward but yet again Fleurety cannot escape
their
avant-garde essence. In the final moments of the track Hatlevik
continues his
preaching, cleverly supported by Ayna’s ethereal mouth harp in the
background
which then comes forward and completes the song. Finally, as I said in
the
beginning, Aesthetic Death did an amazing work in the packaging which
is
completed by the minimalistic artwork of the well-known Norwegian
artists Trine
and Kim. It is absolutely recommended to be heard on vinyl at 45 rpm.
Reviewed
by Sakis