Photo Credit: William Lacalmontie
Black metal and shoegaze are two much celebrated genres that flourished in the early 1990s. Bands like My Bloody Valentine and Mayhem have championed their respective sounds, offering the underground scene a more intimate way in how to manipulate sonic intensity through an emotional lens. At first, their stylistic similarities weren’t apparent, but by the early 2000s, their convergence appeared inevitable. One of the earliest outfits to act upon bridging such a sonic divide into a new expression of melodic noise was a metal band from Bagnols-sur-Cèze, France. Their name was Alcest, and they helped spearhead what is now known as blackgaze.
For the better half of two decades, main songwriter and creative mastermind Neige (real name: Stéphane Paut) and drummer Winterhalter (real name: Jean Deflandre) have established a luminous, brutal, and transcendent presence in the metal scene. Their earlier albums, particularly 2010’s Écailles de lune and the 2005 EP Le secret, were heavily influenced by black metal. However, other releases have ventured into more subdued territories, exploring dream-pop, post-rock, and ambient music – focusing more on building ethereal textures than ear-splitting intensity. While long-standing black metal and shoegaze acts can sometimes feel performative and insincere throughout their discography, Alcest‘s music has always avoided such pitfalls. Neige comes across as a genuinely earnest composer, channelling his influences in unique and disruptive ways – he initially envisioned Alcest’s creative concept to reflect his own childhood visions of an uncanny and euphoric nature, and this is more than prevalent among the band’s rich musical tapestry.
Following 2019’s relatively subdued Spiritual Instinct, the duo’s seventh and latest LP via Nuclear Blast, Les Chants de l’Aurore, finds them not only in tip-top form as noise makers, but most importantly as storytellers – crafting another expansive work filled with big emotions and dynamic contrasts. Throughout this almost magical return to form, Alcest sound detached from rigid definitions of blackgaze they inevitably helped set. Instead, Neige dug deep into the band’s core inspiration, creating a new monument to peace and harmony that, even at its prettiest, is deeply heartfelt.
One of the few remaining international acts that compose in their native language, the album’s title translates to The Songs of Dawn – accordingly, Neige imbued its seven tracks with translucent guitar leads, punchy yet melodic instrumentals, and wispy vocal harmonies. Exultant opener Komorebi sways and grooves with its steady rhythms and layered guitars, purposefully supporting Neige’s calls to “be reborn/In an exhilarating flowering/To meet my soul.” Lead single L’Envol propels this soaring feeling of hopefulness with billowing reverb, yet every icy arpeggio and loping drum hook stands out in the mix – recorded by the band themselves, this is a testament to the duo’s meticulous production techniques and organic approach towards Alcest‘s signature maxed-out sound.
Early highlight Améthyste embodies typical blackgaze as closely as it gets with its grandiose guitar lines, highlighted by thunderous swells that pick up a terrific driving groove whilst balancing crystalline smoulder with sliding synths. Centre-piece Flamme Jumelle shimmers with psychedelic potential before taking off on a skittering beat, immersing itself in shiny dream-pop hooks and sombre post-metal riffs. Réminiscence acts as a classic vignette of cinematic exuberance, with its touching quiver in the piano work panned against delicate cello stabs that support Neige’s vocalising ever so gently.
Despite its apparent buoyancy throughout its 44-minute runtime, the album remains grounded, largely due to the energetic contribution of Winterhalter’s drums, which add vitality even when the layered guitars are at their most ethereal. This is best apparent in the melodious gallop of L’Enfant de la Lune, which never descends into aimless wandering – the outro guitar motif is supported with rich layers of rolling rhythms and bright, cascading notes that lead the album to a fuzzing yet benevolent climax. Closer L’Adieu pays homage to French poet and surrealist Guillaume Apollinaire, whose farewell ode aptly serenades “the death of Autumn” to a warm epilogue.
For all intents and purposes, this is a celebratory and relatively unadulterated album that best encapsulates the Alcest sound and ethos as it is today – the unwavering commitment to illuminating the darkness, rather than dwelling in it. It’s easy to forget just how groundbreaking Alcest were when they first broke through. Being linked to the many bands that followed in the duo’s footsteps such as Deafheaven and Wolves in the Throne Room can be a mixed blessing. However, as Alcest demonstrate again on Les Chants de l’Aurore, their music remains flexible and deeply intuitive, shaped by personal emotions and creative impulses.
8/10
Standout Tracks: Améthyste, Flamme Jumelle, L’Enfant de la Lune
For Fans Of: MØL, Deafheaven, Les Discrets
Written by: Dimitris Vasileias
