AEVUM
Kaleidoscope
DarkTunes Music Group

Checking out this band from Turin on the Metal Archives, I establish that AEVUM have had many line-ups since their inception in 2007. “Kaleidoscope” their fifth full-length release features a relatively settled collective, with drummer Lorenzo Aimo the most recent addition to the band in 2022.

Described as a crossover between gothic and symphonic metal, I’d add in electronica and theatrical to that label, for the drama and emotion that is spread across the 33-minutes feels designed to accompany a visual production in many ways. The opening track “D20” gives a flavour with a variety of instruments adding plenty of interest. It’s the first opportunity to experience the vocals of Ilaria Lucille De Santis, better known as Lucille Nightshade. She isn’t the only one with a nom de plume, for we also see guitarist Danilo Molatieri using the moniker Lord Of Destruction. It all adds to the flair which flourishes within this album.

Now, I’ll state up front that I’m not a huge fan of the symphonic genre, although as with any style, there are some exceptions. “D20” features what sounds like programmed flute and accordion, the latter being one instrument I’d love to see burnt off the face of the world. As “Kaleidoscope” unfolds, there are some very curious passages of play. We have rough male vocals as a contrast to Nightshade’s soprano as well as the contemporary two guitars, keyboards, drums and bass.

“Be A Lady” follows “D20”, both slightly chaotic and aurally something of an assault. There are instruments everywhere, the tempo accelerates then slows in that hectic carnage that the likes of Eluveitie deliver with ease. It’s a fun start, and whilst it may not be something I’d listen to on a regular basis, there’s something quite evocative about the music and Nightshade’s delivery.

The song “Nightshade” slows things down a little, before we come to an electronic pulse on “Dark Tunes” that segues into the riff heavy “Fog Of Fear”. Here we have more of the gruff male growls provided by the masked Richard (If I have my facts right) and another weaving blast of intoxication.

The band has already released four tracks from the album through 2024, so there isn’t a huge amount here for fans to discover. “The Inquisition” was out at the end of March, so fans should be familiar with it by now. A thick keyboard heavy intro leads into duelling vocals with De Santis taking the starring role here. It’s one of the heavier tracks on the album.

There’s a realisation when you get to the tail end of the album that this is very much a stopgap mini album. The final three songs are all instrumentals, programmed versions of “D20” and “Fog Of Fear” as well as another electronic vibed track “Ashes To Ashes”. In some ways this is a demonstration of the band’s versatility, although one might argue that it’s a way of filling up the track list. Certainly “D20” with its flute and big drum sound flits between electronica and industrial. It’s all a bit confusing though, and on reflection, “Kaleidoscope” is a fitting name for this release. There are flashes of brilliance that race past, some of which are so fleeting that it’s almost impossible to grasp what is going on. I’m not sure that AEVUM are going to be a band I spend much time listening to in the future, but I’m glad I did pop in to experience this release. In the rich tapestry of metal and hard rock, there is definitely room for bands with such originality.

Paul Hutchings