Sometimes it’s hard to translate into music a concept one has in mind. It’s because arts seem to be deeply linked, so only one aspect of them can’t translate fully depicts what another does. Today, when aspects of classical arts as theatre, music, sculpture and painting are entering Metal more and more, such depiction becomes harder and harder for writers. Then, to deal with “So Haggard and So Woe Begone”, the first full-length of the Italian band ASHEN FIELDS isn’t as simple as some could expect. The album was recorded at Blackwave Studio, and the sonority is in a very good way, being clean and defined as the band needs to express its ideas, but having that essential aggressive insight of extreme Metal genres, with fine choices for instrumental tunes.

It’s obvious that it could be a bit better than what’s heard, but’s not bad. And as guests, here are Tiziana “Titti” Cotella on drums' parts and Gabriele Boschi playing the violin parts. The band can be said as a Symphonic Death Metal act, but again: labels can’t translate the entire truth about a band’s music. It’s clear that classical music has a huge impact on the band’s members, because instead of using a brutal and blast beats-orientated sound constantly, they chose to do something aggressive and nasty - with some Thrash/Death Metal elements here and there, especially on the guitar riffs - but more focused on creating symphonic ambiences (not extremely overloaded as well) that would fit on a theatre piece (with some melodies in many moments). It’s a different kind of approach on Symphonic Death Metal, and can be expanded in the future.

“Breve sogno (Rerum Occultarum Fragmenta)” works as na intro, preparing the audience for the classical pieces shown on “Queen of Decadence” (some clean soprano vocals can be heard here), “The God’s Vessel” (pay attention on the melodic arrangements on the guitars and charming keyboards), “Unblessed” (the contrasts shows influences from Melodic Death Metal in many moments, and what solid work of bass guitar and drums), “Haggard” (again contrasts between clan vocals and snarls are heard here), “Woe-Begone”, “De Sideribus”, “The Darkness That I Command” (again excellent guitars and keyboards), “Through Mist and Blood” and “Seen the Wolf” shows balance between guitars, bass, keyboards and drums, with many violins’ parts, and the growls aren’t so guttural as usual, but more into a snarling form. It’s grandiose, but’s not hard to understand, and one could say that the band tries to depict on their music something influences by visual and written arts of Romanticism.

Welcome, ASHEN FIELDS, and thank for bringing such a very good work on “So Haggard and So Woe Begone”.