Written: 29th March 2024
Since their formation in 2010, Concrete Age - the brainchild of vocalist, guitarist and songwriter Ilia Morozov, who was born in the Caucasus and now lives in London - has been treading a unique path within metal. With the recruitment of guitarist Boris Zahariev in 2018 and bassist Giovanni M Ruiu in 2020, Concrete Age significantly raised the bar of their music. Blending a range of charismatic ethnic instrumentation and traditional folk alongside thrash and death metal influences, the band have arrived at the release of Motherland - the first Kavkaz album in the history of metal according to Morozov.
Motherland opens with Raida Rada which begins with acapella folk influenced vocals before igniting with a conflagration of rapid thrash-laden riffs and accompanying growling vocals. Shades of pain are fading away / Voices of nature are calling again / Going back home, back to the roots / Starting the journey in deep solitude. Like each song on Motherland, Raida Rada (the name of which is shared by many folk songs and rhymes) is entrenched in references to the history, people, geography and human spirit of the Caucasus, transporting the listener through time as if standing below Mount Elbrus itself. During the latter part of the song, metal and compelling folk influences combine. There is a powerful and irresistibly enthralling energy to the song, mirroring the pride Morozov has for his heritage and birthplace.
Battle for the Caucasus (set during World War II) takes the levels of intensity higher, as on a blistering ride and call to arms, the band’s machine-gun riffs and drums set the scene. 1942, the enemies are close / Coming from the ridge, taking over our home / Army of invaders knowing no remorse / At the cost of life, they will try to get their goal / But they will all fall... Mestizo begins with mysterious woodwind creating the feeling of time gone by, before the tranquillity is shattered by the entrance of Giovanni’s thunderous bassline, which propels the song into a relentless assault of double-kick drumming and chugging guitars. The lyrics speak of pride in one’s origin through ancestral voices met in dreams. I had a dream of foreign realms / I held the banners on the battlefield / I merge them both into a whole / Forming the race that will be graced.
Nomads and Mouth of the Elbrus are both commanding, majestic tracks with sweeping, grandiose cinematic atmospheres and complex tribal drum patterns that while precise, add to the wonderful cacophony within the songs. Ilia Morozov told Hotel Hobbies, “On the fifth track, Mouth of the Elbrus, I decided to use Georgian choirs and baglama. We used baglama on (previous album) Spirituality for the first time. It’s very like the sun. It’s very bright.” Morozov’s authoritative clean vocals on the track demonstrate his versatility as a vocalist. Lyrically, Mouth of the Elbrus touches on themes of nature’s unstoppable force, the cycle of destruction and rebirth and the idea that such events may be woven into the fabric of destiny. The imagery is vivid and apocalyptic, with a focus on the raw power of the Earth. At the heart of this raging doom / The universe makes another loop / Weaving threads of the fate unseen / For the upcoming scenery / The stars above have foreseen the fall / As the Earth now surrenders all / In the chaos, a rebirth's seed / From destruction, it will proceed.
Cossack’s Pride (which is a tribute to the background of Ilia’s parents – both Cossacks) contains a range of ethnic chants, some of the most titanic riffs on the entire album and a truly savage vocal from Morozov. Here we stand lined up / Exhausted and betrayed / Expecting to be killed / By those for whom we died / You want to take our lives / And push us to the wall / But you can't take the pride / From freedom-loving soul. It is the most passionate moment on the whole of Motherland.
The production on the album strikes a balance between clarity and rawness. Considering the vast range of instruments in use, the soundscape does not become confused and is as expansive as the thematic content of the songs. The use of ethnic instruments (particularly zurna and baglama) throughout adds authenticity and distinctive textures to the album and further solidifies Concrete Age’s commitment to blending cultural elements into their sound. Instrumental Shalaho (which contains the best guitar solo on the album courtesy of Boris Zahariev) and closing track Adeghaga encapsulate the band’s exploration of time, honour, pride and legacy, allowing for reflection on the album’s overall narrative. The final track and contender for best track on the album evokes memories of a noble but ultimately doomed group of warriors. In echoes of the forgotten time / A voice resounds of a warlike tribe / They vanished neath the conqueror's pressure / Yet never bowed their knee to end repressions. Serving as an elegy, emphasising themes of remembrance, honour and the enduring human spirit of those who fight against oppression, Adeghaga suggests that the legacy of such warriors lives through the act of storytelling.
With Motherland, Concrete Age has crafted an album that is not just a collection of songs but a cohesive work. It is an album that is better served by listening to it in its entirety, with each track building on the last to create a rich, immersive experience. The band’s dedication to their music is evident in every aspect of the album, from the intricate songwriting to the thoughtful integration of cultural influences. While some may argue that the album’s ambitious scope might overwhelm the casual listener, it is this very ambition that sets Concrete Age apart from their contemporaries. A blend of Sepultura, Moonsorrow and Eluveitie, they are not content to simply produce generic metal; they aim to challenge, to inspire and to leave a mark on the listener’s soul.
Motherland is released on 4th April 2024
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