Review: Calderum – Desecration of the Bastille

Introduction

This project was unknown to me, but seems it’s a one man deal by a very active musician that calls himself Lord Mortuorum. Outside of his own projects he also does work as a session drummer & producer doing mixing and recording services at Necrohelm Studios.

Calderum seems to have spawned sometime in 2019 as the first release is an EP in september that year. That album is entirely dungeon synth featuring no guitars, drums, or vocals of any kind.

When I’m reviewing a band I’m unfamiliar with, I like to start by checking out their previous works. It helps me see how their new material stacks up against their established sound. For Calderum, their previous album, Lord Cramridor, really stood out to me. It nails that old-school black metal vibe, with those droning, catchy riffs that stick with you. The production is refreshingly raw, the vocals are on point, it doesn’t drag on and at around 30 minutes it’s easy to enjoy any time. It’s safe to say Calderum’s sound is unexpected from album to album so let’s find out what they’ve cooked up this time.

Desecration of the Bastille:

The Awakening

Desecration of the Bastille, while just an EP instead of a full length takes a different turn right out the gate with an extended acoustic intro featuring a three or four-part Harmony from a choir that’s almost 4 minutes long. It turns into a sludgy head banging riff soon after and while simple, now we understand where the band is coming from. A minute goes by and we are back to the atmosphere building with the introduction of trumpets, synths and huge drums. I am not the biggest fan of dungeon synth but I think this is fine.

The last section of the first song is more black metal and my favorite part where everything speeds up and you get to hear the raw power behind these vocals coming through strong.

Chants of Penitence

There’s not much more to add here, I prefer this track over the actual intro. It feels like the first song could have been trimmed down significantly, and placing this one at the very beginning would have made for a stronger opening. This track sets the atmosphere much more effectively, without feeling forced, overly formulaic, or derivative in any way. It achieves what the first song tried to do but with greater ease and authenticity.

Pagan Fires

The first half of the song erupts with a furious and chaotic energy, with searing black metal vocals that ride the relentless instrumental wave. A haunting choir or synth weaves through the chaos, adding a layer of eerie atmosphere. As the track transitions into the second half, it shifts into a more mysterious and captivating mood. A beautifully haunting clean section emerges, gradually building into another storm of frenzied riffing. The shifts in tempo, from half-time to double-time drum patterns, amplify the complexity and drive. This unyielding momentum carries the listener through to the very end.

Thy Power of Our Ancestors

The simplicity in certain sections of this song has its place, offering moments that are easy to appreciate. However, this same simplicity can sometimes hold the track back from reaching its full potential, especially when compared to more dynamic parts. This sentiment seems to resonate with a few songs on the album so far, or at least within smaller sections of them. Some of these tracks are on the longer side, but they manage to incorporate two or three distinct switch-ups. As someone who’s no stranger to writing multi-part songs, I can relate to the experience of loving the beginning, disliking the middle, and then enjoying the ending or even struggling with the whole journey until a satisfying conclusion. Certain elements just don’t age well over time, and this is the case at least at the start of this track. I would have enjoyed it if it ended with the second to last part, maybe you’ll appreciate this one more.

Under the Cold of Thy Shadows

This final track bears a resemblance to the first, with a similar progression and playing pattern, though it doesn’t convey the same mournful acceptance as “The Awakening.” Instead, it feels more bittersweet and emotional. The longer intro solo is perfectly placed, setting the tone for the rest of the song. Near the end, there’s a haunting, almost operatic vocal delivery that, while seemingly apathetic, surprisingly complements the song. The guitar work, too, carries a deep sadness, enhancing the overall mood.

Conclusion

This album offers a lot of variety, It’s emotionally charged and raw at times, with each transition feeling intentional and significant, reflecting the artist’s purpose behind them. While this isn’t a bad album by any means, it’s not without its flaws. Some sections drag on a bit too long, and the stylistic genre shifts don’t always hit the mark for me, though they work better in certain spots. For instance, I wasn’t particularly fond of the title track’s switch-up at 1:20—the instruments felt a bit lifeless there, but that might be more of an acquired taste. On the other hand, I absolutely loved the moment at 2:18 in “Pagan Fires.” The somber solo takes the rhythm in a haunting direction, leading to a calculated end that seamlessly thrusts you back into a raw, progressive black metal riff accompanied by shrieking, cavernous vocals. I’m sure I will listen again.

BMZ Rating: 6.5/10

Support Calderum here: https://calderum.bandcamp.com/album/desecration-of-the-bastille

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