When done right, a solo album can be such a great reflection of the artist behind the music. What I mean by this is that the outside influences are kept to a minimum, and the bulk (if not all) of the musical ideas come directly from the artist releasing the album. For this exact reason, I was over the moon with VV’s “Neon Noir” because I recognized Ville Valo’s trademark sensibility in those songs, but underwhelmed by Simone Simons’ “Vermillion” because it felt more AYREON than Simone. Fortunately, I have no problem recognizing Julian Larre’s unencumbered creativity and ocean-deep passion in the songs that make his second solo offering, “Epitaph II,” independently released on May 31st under the moniker LESSDMV.
For those that know Julian Larre from his work with German Gothic metal band LACRIMAS PROFUNDERE and maybe expect something similar, I have to say that “Epitaph II” is a different beast than either “How to Shroud Yourself with Night” or “Bleeding the Stars.” The album offers so much variety from one song to the next that it’s borderline impossible to say it belongs to a certain genre of metal, as there is so much thrown at the listeners during its 54 minutes of runtime. It’s equally atmospheric and heavy, (Gothic) metal and electronic, hard-hitting and emotional, soothing and intense, but most of all it’s genuine and personal, and I wouldn’t want it any other way, to be honest (and subjective). Being a mesh-up of so many things that flow together really well, it offers a breath of fresh air in my playlist of carefully curated albums that go hard in one or maybe two directions.
The best thing about “Epitaph II” is that it offers a wide palette of sound and textures to let wash over you, including the wealth of mostly clean vocals that Julian delivers. Sure there are a few twists in songs like “In the Dark,” “Straight from Hell,” or “The Ghost” as he unleashes some wicked growls and unholy screams to go with the ambiance of the music, but other than that many of the songs are pretty delightful veering into different territories, as mentioned above. Nonetheless, the most impressive thing about these songs is how accessible they are without actually being commercial or lacking substance. First single released, “The Sanctuary,” is an understated atmospheric piece that boasts some electronic overlays and a rather catchy chorus, carried by his velvety rich vocals. Next single, the bright and uplifting “To Believe,” is an emotionally heavy composition about taking a leap of faith and strongly believing that things will work out for the best, a message that rides wonderfully on a beautiful melody that’s only enhanced by the drums, guitars, and shimmering synths. The last single released was “In the Dark,” an ominous and heavy track that with a sharp metal edge to it and a wicked middle section that veers into black metal territory before getting back on track with the soaring chorus.
Elsewhere on the album (and apart from the intro, outro, and two interludes that add tones to the album’s ambiance and sound design) the first proper track, “Hysteria,” starts out with intense screams and instrumentals before settling into a fast-paced rhythm to the drums and guitars but with a strong undercurrent of melancholy coming from the vocals and lyrics, especially around the sorrowful-sounding chorus. It’s an interesting musical juxtaposition that works thanks to the backing arrangements that may not be as audible as the rest but that enhance the mood in subtle ways. And this is true for this whole album, as the songs have a great ambiance to them, thanks to the backing arrangements that are buried in the background, making everything sound not just fuller but moody and textured. Moreover, most of these tracks are also rather sentimental affairs that make this album feel incredibly personal. As such, even if “Straight from Hell” has a gloomy mid-section, it’s actually a beautiful and heartfelt track. Other songs like “Gone” or “The One” are more straightforward and less ominous compositions with borderline poppy melodies and radiant atmospheres augmented by his vocals and either some sparking synths or gentle acoustic strums.
The album’s mid-section boasts some interesting twists of its own as both “The Ghost” and “The Light” are accessible but not commercial tracks with a lot of textures that come either from some electronic overlays that complement an upbeat melody or from some scattered piano notes and thunderous drums that elegantly support the main vocal melody. Then we come upon the darkest and most brooding track on this album – “Requiem,” which starts off like a funeral march on steady drum beats and Julian’s somber vocals but half-way through it picks up the pace as the vocal melody and backing instrumental soar only for everything to de-escalade to the sound of pouring rain. This one and later album track, “Summer Rain” – with its lullaby-like melody, soft vocals, and dark ambiance – are some of the most minimalist yet haunting songs on this album. Finally, there’s the emotional gut-punch “Insanity,” which blends electronic soundscapes with delicate vocals and heartbreaking lyrics into a disarmingly vulnerable and deeply atmospheric track.
To conclude, “Epitaph II” packs a lot of feelings and emotions alongside its array of sonic textures that only work to enhance each other, and the creative decision to divide the album into three main sections separated by interludes was a really smart one, as “I P I” and “I A I” work as both a palate cleansers and metal resets so as to fully engage with the next batch of songs. It should go without saying that the intro, outro, and the two interludes tie everything together and make the album feel cohesive through its many moods and twists. It’s an album that is deceptively simple in the way the individual songs come across, but with a lot of layers to each track, which is why the more time you spend with it, the more you discover on each listen. I know Julian Larre has poured his heart and soul into making this album and, as stated at the beginning, “Epitaph II” is a great reflection of his artistry, craft, passion for music, attention to detail, and above all his decade-long personal journey to get here that combine to make this album a hauntingly beautiful sonic experience with tones of emotional depth.
Written by Andrea Crow
Tracklist
- I:I (intro)
- Hysteria
- Straight From Hell
- Gone
- The One
- I P I
- The Ghost
- The Light
- Requiem
- The Sanctuary
- I A I
- In The Dark
- Insanity
- To Believe
- Summer Rain
- I R I
Lineup
Julian Larre
Label
Independent / LDMV Finland
