Kelly Carmichael – Heavy Heart (2019)

81A320F2-84F6-4F72-9AD1-D3A27A8C8107.pngThe former Pentagram and Internal Void guitarist, Kelly Carmichael is up to release his third solo album this 11th of October. Under Dogstreet Records, Heavy Heart is mainly a package of genres. From classic hard-rock to dimensions of metal, the songwriter included other musical touches which raised the album’s variety.

The first track and also his new single, Shadow’s Will, started with sullen plucking and ripples of cymbals. Like footsteps, the guitar thudded with impact as the violin rose to duet with its voice. The piano tiptoed along the satisfyingly burdensome weight of the song. How it coupled the flimsy tone of the piano and the gothic texture of the violin was done in such craftsmanship. Desires Tragedy contained more freedom. It was unrestrained. Having a lighter presence than the last, it had a vivacious attitude and is a play on pauses.

Soupers was a fine piece of musical collage. It began with rivers of piano, a classical prelude. The hum of bass was audible and the strings section bloomed. There was a mournful tune to this track. The piano was water in form— so liquid-like and amorphous. How it resurfaces from beneath all the noise matched with the distant cries of violin. It could bewitch and break one’s heart.

The Palmist collapsed with a crash. Having a danceable rhythm, it contained more life than the other. It remained as this unhurried tempo. The Way She Heals also had moderate levels. It was like divided into different sections, giving time for the bass and repeating the use of slide along the electric. It maintained a chill atmosphere, being easy on one’s ears.
Airy guitar woke Vine Of The Soul. This however, was immediately converted into the morose character of heavy music. Like a showdown of instruments, where they kept exchanging riffs and rolls to each other.

Another one for the lighthearted is Starless Divine. Having an acoustic feel, it involved catchy phrases and an easygoing demeanour. The bass went back-and-forth as the song turns into different shapes, so prone to changes in each segment. The last and from where the album’s title revolves around is Heavy Heart. It had all these colourful phrases in an old-fashioned rock. With a breathable speed and leveled composition, it was a lighter form in spite of the title. Although the bass and guitar may have exhibited a wheel of techniques during the solo.
Heavy Heart is a dynamic balance of many roots. Taking advantage of the colours of assortment, it was almost borrowed from different genres. A voluminous gallery of heavier music.

8/10

Estefan Malgret.

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