Israel's Winterhorde took about six years between this and the previous album. They surely must have taken some blows due to this interval between. It is a bit weird thing, that they didn't tease fans with an EP or something, to tell the truth. However, who am I to judge these guys, because musicians also got their lives to live anyway. Plus, there were some changes in the band's line-up; I bet in Israel, it is not so easy to find skillful metal musicians anyway...

'Maestro' is Winterhorde's third full-length album to date. On the debut album, 'Nebula' (2006), they sounded as if they were influenced by Cradle Of Filth and Dimmu Borgir. The second one, 2010 album 'Underwatermoon', saw them incorporating more cinematic, story-telling songwriting, with more varied influences. This trend continues here. But 'Maestro' is more, as it is the second theme album by the band. The story tells about a violinist who thinks he is a master composer. Satan, an opera house, a coryphee and loads of insanity happens, too... It is a tragic tale. So, does the music mingle with it or is it just an unfit musical marriage?

I am but a casual fan of metal/classical music hybrid, but I know I have a hunch for goodies in my collection. For those hidden goodies... First of all, they should have forgotten the boring sound effect/piano introduction. There's just a few occasions when sound effects are utilized, but this slow start is just bad! After this things get better. Or I should say, significantly better.

Anyway, Winterhorde play extreme progressive gothic metal. It is dramatic, filled with feelings, and it follows a story. The vibes that are heard are melancholy, ominousness, insanity, hate, gloominess and evil. If Cradle Of Filth are, in a way, making Hammer Horror inspired metal, then I can associate 'Maestro' with many a tragic horror tale, be it "The Wax Mask", "The Masque of the Red Death", "Dracula", or "The Hunchback of Notre Dame". It's not Hollywood (nor Bollywood, thank god), but very European. The band can do it both violent way, and the serene, subtle way. Or go with several vibes at the time.

The guitars can be shredding and attacking, or then they conjure emotional melodies. There is brutal death metal riffing, as well as open-stringed, more black metal style playing. Then again, it can get more progressive or even rocking. Let's not forget different acoustic or non-distorted bits. The music pace varies, but often it's above mid-paced with anything up to blast beats. Sometimes there is no rock instruments heard at all, but for example piano, saxophone, theremin, violin and other classical orchestra instruments. At times it sounds like a big orchestra playing, but I am not sure if some of it is programmed or not. At least it does not sounds artificial, so if there is something done that way, then it is ably crafted. This sounds European, albeit a couple of parts which remind of the Middle East.

The vocals include rough, low growl, which are energetic in their outlet. Fantastic clean male vocals are a bit in vein of Ulver's Garm and Katatonia Jonas Renske, and believe me, gets close to Freddie Mercury on certain parts. Some female vocals, as the story calls for, are heard too. Plus choir, of course. Every vocalist can handle their lot well, without over-acting. That said, generally an actor on this album can also be a musical instrument. Almost every one gets its moment to shine, as others step back. This really does feel like a story, with thoroughly well done dramaturgy. As it is, it's not an easy album to follow, and might at first feel labyrinthine, but it does open, at least it did for me, in a multilateral experience. There is mostly more than one thing going on at time.

The production is intense yet airy. It doesn't get clogged during the most monumental moments, when there are many elements playing simultaneously. Metal and classical bits bind beautifully together, without any hassle. The sinister cover painting is animate. The lyrics are printed, which is of course a good thing considering this is a story. The lyrics itself are animate, too, and nothing too typical; poetry and detail meet in them.

For me this album works much better than aforementioned Cradle Of Filth's first really classical-tinged work 'Damnation and a Day' (2003), or any Dimmu Borgir album after they got more symphonic-edged. Actually, this works tremendously! At first I thought that Winterhorde's older albums were much catchier, and in a way they are, but they are not this profound. I simply cannot find anything negative to comment about this, it is that good. Now this offers the band quite a bit of challenge to better! Give it a try, now!!!

Rating: 8½ (out of 10) ratings explained

Reviewed by Lane
01/25/2017 20:05