Fields Of The Nephilim – Elizium Review

 

Fields Of The Nephilim – Elizium Review!

~Fields Of The Nephilim – Elizium~ Review by Alexander J. Mitchell. (Written March 3rd, 2010.)  

20 Years plus; of perception with celebration.                 

Elizium is the third full length studio album by one of the most talented, pioneering, visionary and successful 'Goth' Bands, Fields of the Nephilim.I say 'Goth' Band, as it is considered by many to be the general theme that fits the style and music;yet the legendary Carl McCoy, as the sole remaining founding member of the Band, does not acknowledge the term 'Goth' to describe or label the Band's embodiment of Music,Lyrics and Art.
Elizium, released back in 1990, is an inspired and influential bridge span between classic / cult Gothic Rock and New Wave Gothic Metal, yet ultimately original and conceptual in it's own right and vision.
Elizium was composed and performed,by what is highly regarded as the classic and best line-up of Fields of the Nephilim, comprising Carl McCoy, Vocals / Paul Wright, Lead Guitar / Peter Yates, Rhythm Guitar / Tony Pettitt ,Bass and Alexander Wright, Drums (Jon Carin,Session / Live Keyboards.)
The comprising tracks on Elizium form a fantastic, almost movie soundtrack epic,
with 49 minutes of pure Sumerian and Nephilim infused indulgence.
The lush and mesmerizing soundscapes proceed with the ethereal instrumental intro, "Dead but Dreaming"; where there is a fine edge between the sounds of what is heard and what is alternatively sensed, that sets an enticing prelude to the remaining brilliant and devoted, orchestrated components of the album.
Following on by a further sequence of 3 carefully structured and connected songs,starting with "For Her Light", that has a very listenable, shining sense of alternating tempo and voiced lyrics,
that surely encapsulates the divine balance of substance and texture; that is awash with beautiful subtle melodies, strikingly powerful / uplifting synthesizers and progressive guitar picks and licks.
This flows nicely onto the third track "At the Gates of Silent Memory", for a very brooding yet sublime recounting of sanctifying nostalgia, with a feeling of perpetual love in the form of a ballad crescendo; more developing dominant waves of dramatic keyboards/ prophetic voice samples and awesome lead guitar with reverb, closely layered with sweet rhythm guitar and an almost tribal beat of Bass-lines/percussion.
Again the songs synchronise into each other with the track, "Paradise Regained" starting off with a blazing musical reverie of return; that gradually fades out to complete the fourth cycle and (If the album, like a theatrical presentation, can at all be split into two parts) to be the conclusion to the first half of this grandeur.
"Submission" picks up the pace again,starting with a lulling form of gently intricate guitar picks, soothing synthesizers, parallel percussional heartbeats, that are the calm before the storm, as McCoy's transformational vocals emphasize the rising crescendos; that are encompassed with liberating use of progressive, heavy instrumental precision,like the howling winds, passing over the tides crashing into the shore, a musical tempest of enchantment and enrapture.
"Sumerland (What Dreams May Come)", like "For Her Light" are the built around singles of the album. "Sumerland" is the electric operatic swansong of uptempo proportions, with many extensive and continuing sounds, coursing through with reverence and longing.
"Wail of Sumer" and "There Your Heart Will Be Also" is the sheer melodic, close and intimate, two part Ballad finale, including the most welcomely exuberant levels of progressive lead guitar reverb, elegant rhythm guitar work and haunting vocals.
*Thus completing the Neph's soundscape journey Opus*