But to be frank and to adopt a decidedly gonzo style, I would not move me that night if it had not been for Alunah: Briton quartet is one of my most recent discoveries and certainly among the most significant 2014, when the year draws. Having been listening to their third album "Awakening the Forest" before its release (chronic here) and me being gradually left subjugate by tellurian and graceful doom, I wanted to see Alunah on stage - and, if possible, to exchange a few words with Sophie Day, singer and guitarist. Indeed, if the presence of an ethereal female voice is singular in itself, for a group like this, it was necessary to check if the parts on precious and ambitious balance maintained throughout "Awakening the Forest" passed the proof available.
"The Heavy Bough," the first single from the new album, opens the set. Unquestionably a particular atmosphere settles: the public or slam or even headbang strictly speaking, but a small ocean of heads that move slowly but fully in cadence, the rhythm of heavy and greasy riffs like a humus forest after the rain fall, issued by Alunah. Sophie's voice is fair and accurate. "Brick Wood Coven" follows and it's an even darker path where you sink, under a sky that seems to unleash angry storm, mid song. Apparently receptive to these innovations, in harmony, although the audience, eyes closed, went on a trip in their heads. The next song is perhaps the most paradoxical of "Awakening the Forest": "Scourge and the Kiss" seems to look a long time to unfold in an orgy of riffs and a solo, true pinnacle leading the abyss. A plague, the kiss, and death?
"White Hoarhound" from the album of the same name (2012), then just witness the evolution of Alunah to a form of progressive heavy, but mostly Parisian delight fans of the group who have not missed that date nothing in the world suddenly familiar territory, part of the Divan racing frankly, even if the music of English Birmingham is certainly too dreamy to generate real madness. "Awakening the Forest", the song closes a set of forty minutes, slightly frustrating, as a foretaste of a date expected to Alunah, headlining this time, with perhaps his best work that will allow musicians to push their knobs to bottom without losing definition (the only criticism that it is possible to issue, on the evening).
Original French Version: http://www.hardforce.fr/actu/9345/alunah-paris-le-divan-du-monde-03-10-2014-
"The Heavy Bough," the first single from the new album, opens the set. Unquestionably a particular atmosphere settles: the public or slam or even headbang strictly speaking, but a small ocean of heads that move slowly but fully in cadence, the rhythm of heavy and greasy riffs like a humus forest after the rain fall, issued by Alunah. Sophie's voice is fair and accurate. "Brick Wood Coven" follows and it's an even darker path where you sink, under a sky that seems to unleash angry storm, mid song. Apparently receptive to these innovations, in harmony, although the audience, eyes closed, went on a trip in their heads. The next song is perhaps the most paradoxical of "Awakening the Forest": "Scourge and the Kiss" seems to look a long time to unfold in an orgy of riffs and a solo, true pinnacle leading the abyss. A plague, the kiss, and death?
"White Hoarhound" from the album of the same name (2012), then just witness the evolution of Alunah to a form of progressive heavy, but mostly Parisian delight fans of the group who have not missed that date nothing in the world suddenly familiar territory, part of the Divan racing frankly, even if the music of English Birmingham is certainly too dreamy to generate real madness. "Awakening the Forest", the song closes a set of forty minutes, slightly frustrating, as a foretaste of a date expected to Alunah, headlining this time, with perhaps his best work that will allow musicians to push their knobs to bottom without losing definition (the only criticism that it is possible to issue, on the evening).
Original French Version: http://www.hardforce.fr/actu/9345/alunah-paris-le-divan-du-monde-03-10-2014-
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