Grimfaith - _Preacher Creature_
(BadMoodMan Music, 2013)
by: Chaim Drishner (2.5 out of 10)
Ukrainian Grimfaith has a logo that resembles the one of Gorefest's, what with the G and the F in a circle of sorts, and an amazing artwork throughout the booklet; an impressive cover art and dark themed illustrations smeared all over the booklet's pages. Thus, we have concluded, more or less, the positive attributes of _Preacher Creature_, a mishmash of an album without a clear identity or captivating music, not by a long shot.

The band try to bring something singular to the table, but eventually they sound like a second rate Moonspell coupled with typically Russian sounding melodic doom/death of the generic, pedestrian and very much derivative kind.

With the heavy usage of keyboards and some generic doom / gothic maneuvers, the general sound is embedded in the recent uncreative yet popular, ultra melodic, super sweet and sticky wave of Russian / former Soviet Union bands who offer no clear identity nor authentic aural vision to the table. Like someone who's not sure about their sexual identity, the music sounds at times gay (in both senses), merry (in both senses, again) and seldom does it sound engaging or punchy enough, with a slice of singularity one can sink their teeth into. The vocalist is a try-hard weakling who sounds like a pale version of the great gothic voices out there, who more often than not shape-shifts into the abominable realms of "alternative rock", baring while he does almost comical English-sung lyrics that are heavy on Russian accent.

Albeit exhibiting a potent and skilled bunch of musicians, the band do not transgress beyond the mundane and familiar, and in the end they sound like a statistic among their peers offering the same dispassionate, uninspired sounds.

If you happen to like doom-tinged gothic metal and its many facets, you are advised to check better musical entities than _Preacher Creature_, as this is a mixed bag that, even though it was executed skilfully, is dull both in ideas and originality, if you still care for those concepts in music. It is also too commercial and devoid of any mystery or real raw power, should you think these attributes are mandatory in good music.

The only bright light regarding this recording is when the singer resorts to using a low key vocal type (baritone of sorts), accompanied by either a short neoclassical piece or when the pace is being picked up and (finally) some robust rhythm guitars emerge to form, together with the aforementioned vocals, a sort of dynamic take on either The Sisters of Mercy or Fields of the Nephilim, but those are too short lived as well as too few and far between.

But what do I know, really? Try to listen to the album yourselves and see if you find anything there that would tickle your fancy. In a crazy world such as the one we live in, where shit is transfigured to gold and vice versa, you might find yourself liking this one, whereas I simply cannot spin this thing more than a single time in my stereo system.


(article published 4/3/2014)

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