Foray Between Ocean
Depression Neverending
Prime Eon Media
2016
Foray Between Ocean are a new quartet from Athens, Greece that seems to be profoundly shaking the foundation of the rather stale local scene, by offering a debut that manages to achieve excellence on more than one areas.
Born out of the desire of guitarist Themis Fad (Trendy Hooliguns) to express his frustrations after his former band’s dissolution, the whole project took many different forms which each “new” member offering their own interpretation of the material that changed from something very dry-cut into something much more layered and interesting... especially the introduction of Dion Christodoulatos (guitars and keys) from Sorrowful Angels, made the whole thing a lot more symphonic.
The band on one hand can sound ferocious, bringing to mind extreme bands like Behemoth and the later day Dimmu Borgir, when they decide to go for the jugular, but also tends to be extremely melodic and almost post, leaning towards some of the better deathcore acts like Thy Art Is Murder, who they greatly resemble, albeit a tad more melodic.
The “Prelude of Grey” is a mysterious, keyboard laden intro that’s quite atmospheric and paves the way for the crushing “Lost Sky” an incredibly ferocious, but in no way, one dimensional track that might be heavy as hell to begin with, but decides to go for a very melodic, albeit not entirely clean, but almost “darkly gothic” in its middle interlude/chorus that repeats along with some very nice orchestrations.
“Castaway in Disappointment” begins also with some highly infectious orchestral intro, quickly delving into the darkest depths, the fathoms of the darkest abyss… it manages a perfect balance between ferocity that almost antagonizes death and black metal, but it also has some interesting melodies running through it. Singer Jon Toussas offers a varied performance and drummer extraordinaire Kostas Mylonas (Paradox, Sunburst, Outloud, Mario Frangoulis) also blasts away, with no mercy.
“My Orient” has the same dark, deep tone, but is a bit more reserved, more bleak and doomy, with some really nice guitar riffs that protrude nicely.
“Path of Darkness” is more orchestral and deadly, in a way reminiscent of a more energetic and more “black” version of Septic Flesh... maybe?!
“Smiling Faces of Vanity” tends to go for a somewhat more modern riffing but, is not really such a grand departure from the overall style of the band.
“Depression Never Ends” opens with a rhythmical eruption combined with some really nice orchestral part that leaves a lasting impression and while it feels more experimental, to the point that it almost goes “clean” in the middle, it does so very convincingly.
“The End of My Time” has a sinister opening riff that repeats midway but mostly hits hard, despite again having a melodic moment towards it’s close. The point is that even with all those “melodic” moments, the band doesn’t feel like it’s following a trend of using melodic vocals, but it manages to create great dynamics and atmosphere.
A fact that’s exemplified in “Forever Blind”, which starts with a writhing, anguished scream, creeps with melodic whispers in the middle, before it returns to a relentless, underspending close up… amidst sampled bows.
“The Darkling Thrush” reverses that, entering with bows and a fast riff and unleashing the fury of its sticky viscous riff all over, with the melodic parts coming up next around the chorus, which is once more superb.
Lastly, “Piece of Life” offers another example of scorching brutality, without lacking in melody… at all.
Foray Between Ocean manages to combine extreme brutality with melody and orchestrations without sacrificing their integrity or heaviness in an album that feels like a rocky se, tossing you before it spits you spent onto the shore. Say what you wish but this album will take you on quite a “journey”…
Born out of the desire of guitarist Themis Fad (Trendy Hooliguns) to express his frustrations after his former band’s dissolution, the whole project took many different forms which each “new” member offering their own interpretation of the material that changed from something very dry-cut into something much more layered and interesting... especially the introduction of Dion Christodoulatos (guitars and keys) from Sorrowful Angels, made the whole thing a lot more symphonic.
The band on one hand can sound ferocious, bringing to mind extreme bands like Behemoth and the later day Dimmu Borgir, when they decide to go for the jugular, but also tends to be extremely melodic and almost post, leaning towards some of the better deathcore acts like Thy Art Is Murder, who they greatly resemble, albeit a tad more melodic.
The “Prelude of Grey” is a mysterious, keyboard laden intro that’s quite atmospheric and paves the way for the crushing “Lost Sky” an incredibly ferocious, but in no way, one dimensional track that might be heavy as hell to begin with, but decides to go for a very melodic, albeit not entirely clean, but almost “darkly gothic” in its middle interlude/chorus that repeats along with some very nice orchestrations.
“Castaway in Disappointment” begins also with some highly infectious orchestral intro, quickly delving into the darkest depths, the fathoms of the darkest abyss… it manages a perfect balance between ferocity that almost antagonizes death and black metal, but it also has some interesting melodies running through it. Singer Jon Toussas offers a varied performance and drummer extraordinaire Kostas Mylonas (Paradox, Sunburst, Outloud, Mario Frangoulis) also blasts away, with no mercy.
“My Orient” has the same dark, deep tone, but is a bit more reserved, more bleak and doomy, with some really nice guitar riffs that protrude nicely.
“Path of Darkness” is more orchestral and deadly, in a way reminiscent of a more energetic and more “black” version of Septic Flesh... maybe?!
“Smiling Faces of Vanity” tends to go for a somewhat more modern riffing but, is not really such a grand departure from the overall style of the band.
“Depression Never Ends” opens with a rhythmical eruption combined with some really nice orchestral part that leaves a lasting impression and while it feels more experimental, to the point that it almost goes “clean” in the middle, it does so very convincingly.
“The End of My Time” has a sinister opening riff that repeats midway but mostly hits hard, despite again having a melodic moment towards it’s close. The point is that even with all those “melodic” moments, the band doesn’t feel like it’s following a trend of using melodic vocals, but it manages to create great dynamics and atmosphere.
A fact that’s exemplified in “Forever Blind”, which starts with a writhing, anguished scream, creeps with melodic whispers in the middle, before it returns to a relentless, underspending close up… amidst sampled bows.
“The Darkling Thrush” reverses that, entering with bows and a fast riff and unleashing the fury of its sticky viscous riff all over, with the melodic parts coming up next around the chorus, which is once more superb.
Lastly, “Piece of Life” offers another example of scorching brutality, without lacking in melody… at all.
Foray Between Ocean manages to combine extreme brutality with melody and orchestrations without sacrificing their integrity or heaviness in an album that feels like a rocky se, tossing you before it spits you spent onto the shore. Say what you wish but this album will take you on quite a “journey”…