“An effortlessly easy-to-enjoy album with a myriad of styles.”
The name Kaldeira is new to me, and likely to most everyone reading this. Originally formed in 2015 in Réunion, a small island a few miles east of Madagascar, itself a larger island located towards the southernmost tip of Africa, the band initially went by the moniker The Hill Is Burning. Especially of interest is that the band played handmade instruments, with the resulting audio issuing from handmade amps (who does that anymore, seriously?). Their earlier style is described as being closer to deathcore than what is promised here within Fournaise. Also of note is that the production here is a huge step up from past affairs, courtesy of Artmusic Studio, located in France.
So, what can one expect?
The art, showcasing the arrival of a winged, ethereal being rising from an erupting volcano, points towards tech realms rather than the typical arenas of bloodshed, atrocity, and carnage associated with traditional death metal. However, the intentions of the being are unclear. Has it (are angels typically described as “he”, “she”, or neither?) arrived to change the landscape, punish those in attendance for a myriad of committed sins, or guide humankind? Therein lies the mystery.
Hitting play, the listener is engulfed in a style that appears familiar. Out of the starting blocks, the rhythms are driving, doused in groove, with an evolving pace that lies somewhere between thrash and melodic death. “Metatron” develops further, delivering riff chuggery, hints of progressive stylistic meanderings, and nu-metal leanings. A fantastic start, albeit in a style that careens down already-carved genre paths, recalling the likes of Sepultura, Soulfly, and (Australia’s recently split) Aviscerus, leaving me eager for what is to follow.
“Betrayer” is up next. With nods to blackened DM realms, the composition here boasts a definite presence, a grandiosity. Stabbing, aggressive riffs, recalling Immolation antics, and atmosphere heighten the whole. It is midway through this track that I come to the realization that the vocals bear brute qualities, and a cadence, that bring to mind both Dave Ingram (Benediction, Bolt Thrower, Down Among the Dead Men) and Kevin Sharp (Brutal Truth).
A fitting accompaniment to a style that hints at a variety of genre influences, and teases abrupt descents into more extreme arenas.
Further into the tracklist, “Martyr Island” introduces native traditional singing and chants, putting one in mind of Roots-era Sepultura. And “Time” sees the inclusion of a more traditional female voice, a touch of mellower melody, and a break from that which the album has already provided. I am of two minds as to whether it actually works in this context, but it does not detract from the high quality already experienced.
Other album highlights include “Slow Death” and “Dawn of Hypocrisy”, compositions that deliver groove beats amid a driving melodic DM foundation, and an aura that widens the possible influence radius to include standout European artists, the likes of Unleashed, Hypocrisy, and Morgoth, as well as Stateside artists including Abysmal Dawn.
Overall, before I could go on at length, this is a surprisingly entertaining effort. An effortlessly easy-to-enjoy album with a myriad of styles that the artists have expertly integrated, resulting in an appeal that spans a wide swath of the metal spectrum, but especially recommended for fans of acts who have zero qualms about employing groove structures within mid-tempo compositions basted in atmosphere and menace.
