Adamantra “Act III: Pareidolia Of Depravity” for #MetalChronicles
Band: Adamantra
Title: Act III: Pareidolia Of Depravity
Label: Inverse Records
Release Date: October 24, 2024
Country: Finland
Format Reviewed: High-Quality Digital Recording
Adamantra -.Act III; Pareidolia Of Depravity
Welcome to a new edition of The Metal Chronicles, the sacred space for gems unleashed during the last year. Today we will delve into Adamantra’s “Act III; Pareidolia Of Depravity”. I owed this piece of writing a while ago, since Jukka Hoffren kindly sent me a physical copy to Chile, directly from the frozen lands of Finland. One of my most loved places in the world, by the way.
But first of all, I have a question for you all, as to set us in a proper context.
¿Do you know the meaning of the words “Pareidolia” and “Depravity”?
Pareidolia is a psychological phenomenon that makes the human mind perceive definite shapes, like a face, in random images. Believe it or not, every day we experiment with the pareidolia when texting someone by using the emojis in the keyboard of our mobile phones. On their own, they are no more than characters combined in a certain manner. We are the ones who attribute them to a specific facial expression. And not even us, but the people who designed this new texting language so that X and D, together, mean laugh out loud, and so on.
Moreover, the human language is, to a certain extent, Pareidolia. Every alphabet of every language in the world implies letters that are no more than written symbols with their corresponding sound. We are the ones who give them meaning. And even more. There is a mandatory aspect regarding symbols, so that we must give a symbol a specific sound for articulating language, otherwise we couldn’t communicate ideas to others.
On the other hand, Depravity, according to Cambridge’s dictionary, is the state of being morally bad, or an action that is morally bad. It implies the “negative deviation” from the line of what is considered to be “the good” for a certain culture. However, that deviation also obeys to certain rules imposed by that society, in the sense that what is considered as “evil” or “immoral” in one culture, not necessarily is evil for another one. Let’s put the example of women in Sudan, Iran or Afghanistan, where it may be considered even as illegal for them to wear a short skirt, while in western countries, it’s absolutely normal and accepted.
Simply put, Pareidolia represents the human mind’s inclination to impose meaning to things that have no meaning themselves, while Depravity is a reflection of moral decay or evilness. Fuse both concepts, and we come up with “Pareidolia Of Depravity”, implying the dichotomy of Good and Evil, and the tendency towards corruption and authoritarianism, basis of every oppressive system. It is also a trait of some human minds, in particular, of those in a position of power. Thus, Pareidolia Of Depravity may be considered as the ignition fire of every war in history, and responsible for all greed, death, lack of freedom and persecution.
With this background in mind, let’s delve into “Act III; Pareidolia Of Depravity”, the third album by the endearing maestros from Adamantra. It is composed of eight tracks ―eight Pareidolias from different ages through History.
“Treacherous Valour” opens the list. Enduring 06:15′, the song revolves around the Pareidolia of War. We have all at some point “married” ourselves to a certain regime of truth and we accept it as “the truth” that shapes the reality surrounding us. These regimes are strongly rooted in so-called “group thinking”, a sectarian mindset, where those who do not agree with your truth regime are seen as outsiders. Or worse and even more dangerous, as enemies. Here is where the Pareidolia of War is born.
In “Treacherous Valour” there are two soldiers confronted, defending “the truth” both believe in to finally end up at the same hospital, covered with wounds and shocked by trauma, suffering and fighting to survive one more day. A cruel, confusing maze that rocks them to the core, making them question whether the truth they defended so much is worth all the pain they went through, and they have also caused others.
As for the music, the song is structured in a catchy slow tempo. The music vibe is akin to 80’s fantasy movies due to nostalgic keyboards, crafting an enveloping and alluring ambience. The powerful bass takes center stage throughout. The thunderous riffs and rhythmic base are reminiscent of Dream Theater. Meanwhile, the soft main voice adds intimacy and a touch of mystery to the ensemble, full of nuances and progressions that give it an elegant dynamism. The feeling that all this produces is that of sitting on a bench facing the sea, on a cold, cloudy day, with some rays of sun breaking through the clouds and shining on the waves. The backing vocals, courtesy of Mikael Salo and Erick Kraemer, accentuate the nostalgic yet hopeful atmosphere, making this first cut a delight for those who enjoy the magic of progressive metal, no rush, like a soft caress for the senses.
Track 2 is “Charade Of Cruelty” , lasting for 05:17’. Here we face The Pareidolia of the Domestic Oppressor, a chilling reflection on family relationships marked by abuse. The story contrasts the authority of the abuser with the silent suffering of his victims: his loved ones live tormented by control, submission and terror. The abuser hides his cruelty behind a mask of moral perfection, presenting himself as a model citizen to society. He is an exemplary family man, who works hard to provide for his people.
However, behind that facade of righteousness and perfection and perfection, when he gets home and closes the door, he unleashes all his brutality against those he must protect. Thus, pain, fear and despair become the inescapable reality for the victims, leaving them without hope. Even so, some find the strength to stand up against the demon that mistreats them; some are freed…and others find their end.
As for the music, the composition breaks the scheme of the previous ride, featuring a diverse fast tempo, with masterful orchestrations and nuances that give strong vibes of Seventh Wonder and Symphony X. In the verses the rhythmic base stands out; The bass and drums not only accompany, but enhance, frame and unite all the elements, making the progressiveness of the cut feel fluid. The choruses bring a soft and energetic freshness to the ensemble, contrasting with the vocal aggressiveness of the verses and recited sections. The vibrant arpeggios and picking in the bridges and guitar solos are a technical marvel, perfectly executed, without falling into excessive virtuosity and lacking feeling, which is so criticized by some fans in terms of the genre.
With “Charade Of Cruelty” Adamantra demonstrates his compositional mastery in every aspect. Lyrically, the song is a provocative denunciation of abuse within the family, without distinction of gender —The Pareidolia of the Domestic Oppressor. And regarding music, Adamantra does not sacrifice feeling in favor of virtuosity. Rather, everything is unified impeccably, achieving a balanced track, completely progressive and completely fluid.
Track 3 is “Hypocrites”, enduring 06;22′. This track deals with the Pareidolia of Religious Oppression. It places us in the times of obscurantism, presenting the conflict between the ancestral wisdom and worldview of the aboriginal peoples with Institutionalised Religion. It tells the story of the sorceresses, heretic witches, whose mortal sin was to know the natural medicine of plants and herbs, and the healing power of nature. Religion saw in them a powerful enemy, whose knowledge could undermine the foundations of an empire ruled, mainly, by fear of possible eternal damnation in the flames of ‘Hell’. For this reason, thousands of girls, women and old women were burned alive by the Holy Church during the Dark Ages.
But their legacy persists to this day, in the form of alternative medicine, as a testimony that what is grounded in love and nature prevails beyond terror, persecution and death.
In terms of music, “Hypocrites” maintains the roots of progressive metal, with a four-segment rhapsodic structure that alternates fast and intense passages with softer, melodic and emotive sessions. This creates a rich and immersive listening experience. The combination of atmospheric keyboards, epic polyphonic choruses and the presence of string quartets including violins, viola and cello enhance the emotionality of the track. Meanwhile, the vocal performance is warm and expressive, in coherence with the lyrics.
Also noteworthy are the choral arrangements and the guitar solo in the final portion, in a higher key and at a slower tempo, while the voice rises to a higher note and masterfully closes the cut, giving way to the fourth track, maintaining the continuity of the adventure.
“Of Beast And Angels” is one of the most impressive cuts that progressive metal has gifted the world in a long while. With a running time of 06;57′, “Of Beast And Angels” features one of the most provocative lyrics of the entire album, crudely describing what goes on in the mind of a sexual pervert consumed by lust, reflecting the Pareidolia of Sexual Perversion and Abuse. The protagonist is presented as a spirit tormented by lust and uncontrollable sexual desire. It is a hunger that is not satiated, a malice that sees perversion in all bodies, and the story is also a reflection of the abuse of those in a position of power that allows them to unleash their impulses on the weakest. In the history of the world there have been hundreds of cases of a charismatic leader who often uses religion or political power to sexually abuse whomever he wants.
The song appears in fourth place, beginning with a beautiful string quartet, which resonates with the ending of “Hypocrites”. These beautiful opening lines herald a quiet, balladeer-like, classical-style piece of music. However, after the intro, the cut takes an impressive turn; thunderous rolls, killer riffs and insane progressions accompany the luminous keyboard orchestrations, bringing strong Symphony X vibes. The verses, bridges and intermezzos are reminiscent of ‘Inferno’ in their melodic and rhythmic base. Until we get to the chorus… a power progressive wonder! Exquisitely fluid, where both the vocals and the melodic and rhythmic base complement each other as they travel smoothly through the tonal scale in an impeccable way, creating one of the catchiest and most memorable choruses of the genre, perfect for both power metal and classic progressive lovers.
And there ‘s more! Wonderful keyboard and guitar solos connect the chorus with another spectacular bridge, where a glorious polyphonic chorus is accompanied by a rhythmic and tonal crescendo, with strong Epica vibes, which pleasantly surprised me, as it adds another layer of depth and diversity to this impressive cut. Oh, by the way, this is my favourite track of the album.
The following epic is “Morpheme”, the second longest track of the album, ending 09: 24′. The story is about the life of an addicted person, or the Pareidolia of drug addiction. It is the raw and powerful testimony of one who falls into addiction, as an escape from pain or problems. It is a journey of no return, where dignity, personality and even a sense of belonging are lost. Addiction steals everything that was once important to the person, making them unrecognisable to everyone, including themselves. It is a powerful message, reminding us that no one is free from falling into the illusion of escape from a life that does not make us happy, through a substance, gambling, or any element that creates dependency.
Musically, the song has a ‘classic’ progressive structure, in terms of speed, cuts and progressions, although the first verse section stands out, which is quite darker in vibe and tonality than the following segments, which are faster and more dynamic.
In terms of influences, “Morpheme” reminds me of Kamelot, and also of “Church Of The Machine” in certain notes and chords of the verses and bridges. The polyphonic choruses, together with the guitar solos are one of the strongest points of the song, as they add robustness, warmth and energy to the whole. At the same time, the rhythmic base makes a precise and balanced frame that at times reminds me of Opeth for its emotionality, genius and power. All this, elegantly crossed by the power progressive. The insane drumming at the end is the finishing touch for “Morpheme”.
It must be said that “Morpheme” may not be suitablefor every listener. Although in my ears it is fluid, for many listeners it may be complex, intricate, with many diverse and unpredictable landscapes that may not be easily followed.
But remember: Adamantra plays progressive metal! And for those who love the genre, “Morpheme” is undoubtedly a gem and a must-have track, if you really want to get into progressive.
Track 6 is “An Unfinished Tale”, the precious ballad of the album, clocking in at 04;52’. It depicts the Pareidolia of Tragic Love, in tune with great works of universal literature such as Romeo and Juliet, and the unbreakable love narrated in the story of Orpheus and Eurydice. The lyrics describe a love as deep as it is tragic, marked by goodbye and acceptance of the inevitable end. It speaks of the pain of having to let go of the person you loved most, with an implicit promise to follow them even beyond death. Thus, the story without ending persists by the force of that love that knows no borders, no time, no logic. Because when a soul comes into your life, and has the power to awaken both your desire and your tenderness, and with just one word can change your mood, and who loves you deeply to the point of making you love yourself again, nothing can break that bond —not even death.
Musically, this track is of magnanimous beauty, combining the power of progressive metal with the classic sweetness of metal ballads, and the deep emotionality of a sublime vocal performance. These are perfectly complemented by the moving keyboard orchestrations, creating a scenario full of nostalgic romanticism, with such force that they touch the heart, like a soft caress that runs through your body and makes you want to completely surrender to the most immense love, no matter how crazy or impossible it may seem.
The leading presence of the rhythmic base enriches the textures, wrapping the environment with a warm mantle of affection, while the softness of the voice breaks down all barriers of false hardness. You simply cannot remain undaunted by this cut: the energy of love overflows in every note, in every drum pulse, in every riff and in every progression, making this track one of the most beautiful ballads of progressive metal.
Continuing our adventure, we come across the powerful track 7, “False Illusions”, with a duration of 05:13′. It represents the Pareidolia of False Freedom. That is, the false illusion of freedom within a society, which is presented as harmonious, peaceful and happy. But the price to pay is the exchange between the freedom inherent to each human being, in exchange for a false “security.” We are supposed to be free and happy, but it is simply a facade where control and oppression are disguised as security and collective well-being, hiding the reality of the loss of privacy and fundamental rights.
This lyric echoes the stories of a dystopian world, told in George Orwell’s works “1984” and “Animal Farm”, where both explore the dangers of totalitarianism and how absolute power can corrupt even the most just causes, deceiving the masses with the myth of false security.
Musically, “False Illusions” takes up the line of the most catchy progressive in the melodic structure, also combining elements of power metal in the riffs, in certain portions of the rhythmic base, and above all, in the masterful guitar solos, which fill the auditory space with a solemn and elegant energy. The bass, meanwhile, marks presence and prominence throughout the track, adding a rich layer of depth and robustness to the whole. The voices add romanticism, power and emotion, especially in the choruses, where the range of notes extends up and down, giving the same vibe as a live concert, full of adrenaline. The end of the cut is a curtain drop, which has the bass as its protagonist, in a sober and precise execution, which joins the drums and the subtle atmospheres created by the keyboards, concluding in a fade down.
And closing this incredible adventure, we arrive at the intriguing, shocking, and wonderful “Paradise Epilogue”, the longest track on the album, lasting 11:03’. The story addresses the Pareidolia of Kidnapping and White Slavery. A boy disappears without a trace, his desperate family searches for him, without success. Nobody knows what happened to him, or where he went. As the cut progresses, the little boy is heard, scared, while a stranger appears, trying to calm him down, saying he will take care of him now. Estranged from his family and everything he knows, little by little he resigns himself and faces his destiny at the hands of the kidnapper, a life of suffering, submission, abuse, and possibly, death.
Contemplating the music, I realized that people tend to focus more and talk about how great album intros are, but usually not mention their closings. Well, “Paradise Epilogue” is a spectacular closing; it is an emotional and brutal rhapsody, which is divided into three sections. Each section has a different rhythmic and melodic structure. Part I is a beautiful and soulful ballad, while parts II and III display all the power of the fastest progressive metal, presenting melodic, vocal and rhythmic diversity.
The killer riffs and guitar and keyboard solos give the power metal touch, providing balance and freshness. The presence of the bass stands out as a driving element throughout the song, while the voices develop the story in coherence, with a lot of drama and nuances, which are enhanced thanks to the stage presence of the guest vocalists. The track takes a complete turn as it enters into a polyphonic ecclesiastical choir section, and then advances towards the final portion, with guitar crescendos, spectacular solos and abrupt closure.
With “Act III; Pareidolia Of Depravity”, Adamantra not only demonstrate that they are a force within the genre, which shines with its own lights. They also testify that they are excellent and intelligent lyricists, who are not afraid to delve into provocative and profound themes in order to make us reflect on the realities we live, hand in hand with a good dose of progressive metal 10/10 by Elyna
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10/10 Immortal Classic
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