Dearest and Most Esteemed Sirs,
Notwithstanding my manifest lack of facility with a fountain pen, it is my undoubted honour to render for your approbation and - I hope - interest and amusement - some insights and observations into the most recent musical collection by esteemed performance troupe Imperial Vengeance.
This new artistic piece (for this should be considered an artistic piece, not merely a musical record), is entitled “The Black Heart of Empire”. As you will have surmised it refers to the humble fifth of the planet’s crust most happily subject to the will of his Imperial Britannic Majesty.
As the recording makes clear, all is not well at the very heart of the largest empire the world has ever seen. The “penny dreadful”-style dust cover recalls the days of Queen Victoria, seen through the prism of the darkest London back alleys, where the uncaught Ripper plies his bloody trade and desperate gentleman lurk in every shadowy club and disreputable doorway – a conceit echoed lyrically in the likes of “On the Stair”.
Elsewhere modern times are portrayed, satirizing the dissolute nature of our absinthe-drenched and cocktail-debauched London club scene, the likes of the deranged mystic Aleister Crowley feeding glutted and insatiable on the fat of our empire’s prosperity.
Imperial Vengeance pursue the futuristic musical style known as “Black Metal”. In “The Black Heart of Empire” this is far from the desperate, unimaginative cacophony ordinarily conjured by those words. At its blackest, it is reminiscent of a highly intelligent version of Cradle of Filth - themselves no strangers to invention.
However, to contrive a more authentic, the troupe has made extensive recourse to our own happy 1930s and preceding eras. Organs and violins abound, along with one of those cunning cinematic devices that makes ‘ghostly’ sounds. There is even a pianoforte break.. In all it is Black Metal re-invented (or de-invented if you will) for the steam-punk age.
The troupe have excelled themselves in offering tempting song titles, providing musical soupcons from the immediately tempting “The Ghost Light”, to this humble scribe’s personal favourite “Veiled Threats Over Cocktails”.
“The Black Heart of Empire” opens with the by now de rigeur atmospheric track, “Scenes of Inked Treachery”, allowing we of the blessedly prosperous classes to experience the night sounds of the vilest London stews and rookeries. This is followed by “The Black Heart of Empire”, which is immediately alluring, producing a melding of cleverly wrought guitar and organ, to produce a Cradle-ish pastiche, before breaking into the guitar and cinematic piano combination that lends colour to the album as whole.
With no more ado Imperial Vengeance then produce “The Voice of Thelema”, which commences in an oddly jaunty in manner not seen since the troupe’s absinthe-toting cover of “Nightboat to Cairo”. Things quickly become more serious and heavier in a thoroughly entertaining manner.
“The Ghost Light” reins back the heaviness to produce a classical opening, which is quickly followed by a return to heavier ways, augmented by some sinister keyboard work. The whole is perfected by brief spoken word / keyboard flurries and welcome recourse to the ghostly noise device.
“Veiled Threats Over Cocktails”, features highly enjoyable catchy chorus riffage and a fine “Yes you! Sir! Standing in an aspect so contrite!” lyrics, while “The Devil in the Detail” includes a highly welcome appearance from Crowley himself, burbling cheerfully long, evidently oblivious to the suitably cinematic keyboard and violin section. The following “Out Went The Candle” consists of not much except pianos and the whispering of the damned, yet still somehow contrives to be entertaining.
In “Upon The Stair”, singer C. Edward Alexander eschews his customary Death Metal vocals, producing a very welcome if somewhat hammy performance, reminiscent of that new chap, Vincent Price. While the final track “Of Insect and Allegory” commences in traditional Black Metal style, but as ever with Imperial Vengeance, this is mere deception, veiling the onset of orchestral choruses and a very steampunk / cybergoth section.
In “The Black Heart of Empire” Imperial Vengeance have an album which is both highly original and entertaining throughout – a welcome relief in a genre in general conspicuously devoid of both qualities.
God bless his majesty, and God bless Imperial Vengeance, his not-so humble subjects for providing such fine listening entertainment.
Your servant
Sir Marmaduke Fulton-Hussey K.G
http://www.myspace.com/imperialvengeanceuk
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