28th September 2019

Review: “Beckoning Call” by Chasing Embers

Formed in Kyiv Ukraine by drummer Vladyslav Pospolitak, guitarist Alexey Hrankyn and vocalist July Tallina who were joined by second guitarist Oleksandr Zahorulia and bassist Vladyslav Kachanovskyi, Chasing Embers are an alternative metal with sincere lyrics and unique atmosphere. 2017 saw their debut single “Badtrip” released. Autumn of the 2018 was marked with their first music video for the song “Silent House” and now October 2019 will finally see their ideas shared.

Starting out with the title track of your album is always a strong statement. The logic of crocodiles dictates that if you’ve picked a song to name your album after, it’s going to be either your favourite as a band or the one that you think is the best. “Beckoning Call” is an alternative Metal track that borders on Progressive material with so bold sentimental lyrics and vocals from July Tallina which gravitate towards Nu-Metal introspection. The vocals have a nice rise a fall with a warmth that’s engaging and not too distant from the sort of thing Jennie Skulander of Hamilton, New Zealand Metallers Devilskin would offer. There are hints at bark and rage but it doesn’t actually appear. In similar fashion “Desires and Fears” hits harder musically with some pounding rhythmic grooves and chugging bass. Longer musical arrangements and breaks between the vocals ensure they’re no over powering while the sweeping melodic break before a more driven guitar part threatens a breakdown cunningly doesn’t happen. Second single “Spiritual” was given a music video with a distinct late 90’s early 2000’s vibe to it. The music itself perhaps has some of the same Ukrainian folk music inspirations as Jinjer used on “King of Everything” underpinning the sound. Tallina talks about being released from the chains of her mind, something that is easy to relate to. The stompy hard rock riffs of “High Stakes” wouldn’t be out of place of a Godmack record with a distinct groove to them highlighted by some nuanced lead flourishes and a bright short solo. Perhaps head nodible with a beer in hand rather than full on pit fodder, it’s still good fun.

The aching piano and vocal introduction of “Carnage” is a open letter to a lover that showcases the bands ability to write something a bit different. The riffs build up underneath the layering to create a crescendo for the bold chorus of big sing-a-long clean vocals while being measured and in tune with the lyrical theme to create something beautiful and meloncholy. A single now a year old “Silent House” has a horror film child voice on loop that breaks into some of the bands heavier and sinister riffs. Probably the darkest cut on the album and belonging on an 80s horror film soundtrack, it brings back the bark from Tallina that says she has the ability to do unclean vocals but isn’t going to do them. Riff wise there are a number of ideas that you will have heard before that give the track that instant accessablity and a nostalgic warmth. A heavier opening fades away as the pained vocals of “Drown With Me” start. Sticking with a formula of bigger music during the chorus that drops to melody during the verse, it creates a nice frame work for band to operate within and engage the listener. The issue is that as with a number of the tracks they could do with being a verse or chorus shorter, which is what we would expect perhaps of the band with a producer or label putting some reigns on. Returning to the riffs with an Arena filling intro, “Last Night Tonight” is a more traditional Metal cut with fist pumping breaks between the vocals that will no doubt get the fans hands in the air. A gang chant and an unclean gutteral are spot on and a welcome addition to the bands sound. Closing on “The Moonman”, a dark tale of the man on the dark side of the moon with its roots in science fiction and 80s Metal. Tallina’s voice mimics the howling of a wolf and it’s a fine way to be bring an album that has been a long time in the making to an end [7/10]

Track listing