Review: “Motherland” by Concrete Age

The truth is that the journey is just as important as the destination and after eight studio albums, including last year’s impressive “Bardo Thodol“, for Ethnic Metal pioneers Concrete Age, that destination is none other than Caucasus. Soaked in the spirit of the incomparable region, the birthplace of ancient empires full of wonder, created from the blood of their enemies, it can be found between the Black and Caspian seas. The motherland provides the scenery and inspiration as mastermind and multi instrumentalist Ilia Morozov (vocals, guitars, zurna, baglama) leads his clan of guitarist Boris Zahariev, bassist Giovanni M Ruiu and drummer Davide Marini into battle once more, paying homage to its ethnic colours, flavours and shamanistic majesty in the process…

…while Ethnic Metal has been a genre for a long time, a canvas upon which bands like Tengger Cavalry, Sepultura and Alien Weaponry have painted, their are few who push the discerning listener as far as Concrete Age do. While others flirt, this band created a fully immersive experience which is both captivating and enthralling in the process. You can listen to their records and get lost in the soul stirring spirit of them, closing your eyes and being transported to knife fights in the streets of Persia, the intense heat of the desert or an oasis from which to drink from the cup of life. “Motherland” is no different, a continuation of the sound with which the band have made their name, however it is clear from very early on that their dedication to their craft has improved their musicianship. What has changed is that they have added a little spice in terms of verve and swagger to these songs, each one exuding a new found confidence and power. They have complete faith in both their vision and the material which they have written and that shines through like chinks of light through black clouds.

Chanting of “Raida Rada” sets the scene with a moment of calm before the storm as Concrete Age put the pedal to the Metal and roar through an opening verse of rampaging earworm riffs. Harsh unclean vocals cut against the powerful kit work but it’s the ethnic rhythmic passage which touches on Power Metal in its styling that stuns. It’s like running through an ancient bizarre with the law on your heels. Flamboyant leads fly in all directions with the adrenaline rush of “Battle For The Caucasus“, the tribal drum patterns adding the element that Soulfly are known for but without losing any of the power or energy in the process. Morozov’s uncleans on “Mestizo” flirt with the demonic before a face melting solo decimates the weak and thins the heard. A tour de force of what this band have been about since the dawn of time, it waves their flag with honour and pride.

Interweaving all of the aspects of the Concrete Age sound, “Nomads” is a blood and thunder offering that has rich melody from acoustic guitars and ethnic instruments interchanging with heavier guitars and powerful kit work. The dynamic is bold and brave, a refreshing splash of cold water in the face after a long walk in the hot desert heat. At this point we reach the foot of the mountain for “Mouth Of The Elbrus“, an Extreme Metal cut offers much to lovers of Death and Thrash with Morozov finding some hitherto unheard nasty shriller vocal moments. Marini also finds his inner beast, offering up some blast beats which make it feel all the more vibrant and alive. The shores of lake “Kara Kol” are the next destination as the sharing of ancient knowledge between warriors united in the art of warfare begins. For the first time in the record some of the momentum is lost for the obligatory ethnic melodic passage however it is not to the detriment of the Thrash inspired warriors cry. Instead, it adds depth, texture and charm in abundance, all three things going hand in hand. Instrumental “Shalaho” gives the opportunity for both guitarists to let fly and they do with intertwining solos that give Trivium pairing Matt Heafy and Corey Beaulieu a run for their money.

After the virtuoso flamboyance of the instrumental, the right and fair thing to do is increase the intensity with a heavier cut and with “Cossack’s Pride” they do exactly that. Blast beats and rampaging Death Thrash riffs scream war is the answer in bloodthirsty fashion, the frantic pace and frenetic energy making this one a head bangers delight. A mid cut break for tribal drums gives this one a distinctive Latin American feel before the guitars come back with chanting to finish on a high. Yes, it has an air of familiarity to it but that’s not a bad thing. A long introduction to “Adeghag” gives it a real depth of atmosphere, you can mentally picture it playing out on a stage on an Arabian night, surrounded by fire breathers and belly dancers. Arguably the cut with the biggest chorus on the album, it has real presence and power, a tasteful solo the icing on the cake. If you thought that Concrete Age would offer up a Progressive leaning drawn out finale, “Hasbula” is the polar opposite. Driving rhythms keep the fires of the motherland burning for a cut of anthemic quality and once again, the solo and tribal drum trade off is both immense and inspiring [8/10]

Track Listing

1. Raida Rada
2. Battle For The Caucasus
3. Mestizo
4. Nomads
5. Mouth Of The Elbrus
6. Kara Kol
7. Shalaho
8. Cossack’s Pride
9. Adeghag
10. Hasbula

“Motherland” by Concrete Age is out 4th April 2024 via SoundAge Productions