SERPENTYNE

Musically the band move between different styles, from folk metal and symphonic metal into prog metal, and they obviously appeal to a wide variety of fans as they have supported Stratovarius on tour as well as Soulfly, two very different bands indeed. It must just be me then, but although I enjoy the use of hurdy gurdy and violin in what they are doing, as well as the keyboard runs, for me this album is quite basic with little in the way to redeem it. Overall it is fairly interesting, but given the choice between this, or the likes of Legend, Nightwish or Eluveitie, there really is no contest.

In spite of the undeniable appeal of the band's ethnic spread, I do feel that some spirit has been lost in execution, resulting in a partially squandered opportunity. While most individual tracks are more than competent and at times even exciting, as a collective work this lacks sufficient conviction of its own identity to mark real progress. While "Myths and Muses" channeled its influences into a fully formed end product, "The Serpent's Kiss" sounds more like a follower, albeit a skilled one whom the leader would be glad to find in their footsteps. Even closer examination of the quasi metallic metamorphosis reveals that chugging rhythm guitar is the main source of the embellishments, which dampens their effect over the course of the end product. This isn't really so different from its predecessor after all, and most of the difference amounts to abstractions and distractions.

Weaknesses aside, this still might be the go-to disk for most prog fans who want to own something by SERPENTYNE, and who enjoy the hitherto forbidden fruits of florid metal with a heart of folk.

While this is music for a certain mood, it's also rather self limiting in terms of dynamism and indeed its potential audience. As it turned out, SERPENTYNE evolved from disk to disk, so either they sensed this road to be a developmental dead end or they randomly discovered divergent and more expressive routes. I would not start here with an exploration of this band unless the description appeals to you, but instead begin with their follow up, the far more compelling and indeed progressive "Myths and Muses". 2.5 stars rounded down.

Maggie Beth-Sands possesses a sultry and authoritative voice that swirls about the interpretations on a slyly unlikely concoction of the ultra trad and the electronically polished. "Valkyries" and "Freya' s Firedance" are perhaps the most brilliant homage to the seemingly incompatible elements on display here, from the demented vocal harmonies to the breakneck hurdy gurdy. A couple of tunes sung in French channel the band's inner MALICORNE meets the MCGARRIGLE sisters, which only heightens the sense of open minded exploration, and validates the use of Breton instrumentation, whether anyone asked for it or not. If another version of "Pastyme with Good Company" has you preparing to burn your BLACKMORE's NIGHT CDs in ritual effigy, do give this one a listen, as further proof that this band lacks not for inventiveness.

It certainly doesn't get easier to interpret some of this oft covered material in a manner that not only prevents petrification (or even putrefaction) but actually freshens it. SERPENTYNE has accomplished this feat, making them one of the more worthy proponents of new/neo folk music.

While I'm not familiar with the material of the first Serpentyne album, their second one was a most charming endeavor exploring music I'd pretty much describe as a folk music version of Ozric Tentacles. While the folk music element is still present as of 2016, Serpentyne have opted to take their folk music inspirations in a rather different direction this time around.

Initially you kind of get the impression that the band wants to take a bite of the symphonic metal market, as the opening cuts in particular with it's bombastic blend of majestic orchestral details, powerful guitars and operatic female lead vocals kind of plays straight into the center of such excursions. But as the rest of the album unfolds, a bit more variety is at hand, even of the orchestral details reappear from time to time.

The greater majority of the material is of a different character however. Folk metal or possibly folk hard rock is how I'd describe these cuts, with theatrical, female lead vocals placed on top of a foundation with a hard rock and metal at the core and a liberal amount of folk-tinged elements present. In vocals, in dominant or subservient motifs or due to various instrument details. With liberal amounts of flavoring from the hurdy gurdy adding a subtly exotic sheen to the proceedings. On occasion electronic elements are added in to provide us with some of the charms also present on their previous album, at other times the band opts to go for more of a straight forward concoction of hard rock with folk music details present one way or the other. Even on the concluding cut, Game of Thrones, the gentle Celtic tinged folk music opening sequences gives way to more of a hard rock founded arrangement after a bit.

Personally I have to admit that I found this band more charming in their previous guise, perhaps due to them exploring a type of music a bit further removed from what many other artists produce. At the same time it's easy to hear that the music on this new CD will have a much broader appeal, even of perhaps not quite as sophisticated nor wild and free in character. Majestic metal with a certain pompous grandeur and theatrical either operatic or semi-operatic female lead vocals is, after all, one of the more popular niche genres present in the genre jungle of music these days. Serpentyne are good at what they do too, there's no question about that. Still, I do hope they will if not revisit then at least include a few more of the charming, untamed folk and electronic blends that was so utterly charming last time around on any future productions.

Those with a strong fascination for bands operating out from a hard rock and heavy metal foundation to create a blend of those styles of music with folk music should find Serpentyne's latest studio album to be well worth spending some time with. A certain fascination for symphonic metal is warranted too, but it is the former and not the latter description that, in my opinion at least, defines this CD.

Serpentyne is among the bands I see classified as neo-folk, a style of music I really don't know all that much about but which I presume are applied to artists that approach folk music in a manner regarded as contemporary or modern. As far as that goes Serpentyne accomplish that with ease, and have managed to create an album that combines the traits of being familiar sounding yet also adding distinct and often dominant traits from the modern world into a folk music context.

There's nothing substantial new about this really, as rock bands have paired of their compositions with folk music and vice versa for many years already, and the classic folk rock is given a slight nod on this production as well. What separates Serpentyne from folk rock bands is that they focus more on pairing off the folk music with electronic instruments, and as such the end result is a tad closer to the likes of, for instance, Ozric Tentacles, but with folk music details and vocals in place of cosmic and psychedelic elements.

Drones and techno inspired rhythms are key features in the landscapes crafted by Serpentyne, creating a compelling, energetic foundation that carries the songs forward with ease, and the hurdy-gurdy combines easily with this foundation to add a subtle, organic darkness to the proceedings. The crystal clear lead vocals of Maggie/Beth Sand serves as a stunning contrast to this darker backdrop, and complemented by flute, violin and harmonium in addition to what I though sounded like emulated bag pipes, additional acoustic and electronic percussion, layered harmony vocals and chants this all combines into a stunningly hypnotic end product. Kind of like a futuristic medieval landscape if you like, intense and driven in a good way and without the need for any dramatic effects to maintain tension and attention.

When that is said, this isn't an album of 160 BPM rhythms backing a female vocalist and Celtic inspired folk details. The landscapes explored are varied, and in terms of variation in intensity, the use of sparse arrangements and dreamladen interludes, as well as elongated passages and songs settling at a slower pace, a band like aforementioned Ozric Tentacles is a fair comparison, and Serpentyne doesn't ever kick off into a breakneck speed oriented affair. That the rhythms are techno-inspired doesn't mean that they are techno, to specify that, but that there's some techno or house music that is a likely source of inspiration be it directly or indirectly. The folk music details aren't limited to the generic Celtic either, as both Irish, Scandinavian and Middle Eastern inspired textures and sounds are applied, alongside a few that to my ears sounds just as English Earl Grey tea.

All in all a very well made production, without any weak spots as such as I experience this album. A highly compelling and hypnotic affair that should have a broad appeal across most demographics. As far as a key audience is concerned, I'd guess that those who enjoy folk and world music just as much as bands such as Ozric Tentacles might be at the heart of it, alongside those with a general interest in bands described as neo folk.