Submerged into Amenra's World

Amenra took over Studio TD on Friday, September 27th, bringing their atmospheric metal sound - at once referred to as “extreme metal”, “post-metal”, and “atmospheric sludge metal” depending on who you ask (and which album you’re looking at), though it’s probably easiest to describe them as blackened post-metal. They’re a band that originated in 1999 from the West Flanders city of Kortjik in Belgium, rising from the ashes of the hardcore punk band Spineless, founded as an outlet for pain by vocalist Colin van Eeckhout when his father died. They’ve brought their punk origins with them, not only the musical influence, but their DIY ethic and commitment to art and collaboration. I was fortunate enough to see them, in what was probably my favourite live show of the year.

The night opened at 8 pm sharp with Blackwater Holylight. Bathed in purple and blue lights, the four-woman lineup captivated the attention of the audience immediately, rendering us all into an appreciative silence. Blackwater Holylight have a sound that is rich with a variety of influences, from occult and psychedelic rock to black metal and stoner doom, you can hear traces of Electric Wizard and Wolves in the Throne Room in their sound and guitar tone. The drums had a soft feeling to them, and the synth was loud in the mix. There was a heaviness to their sound, as they switched between a cleaner and more distorted guitar, as well as having both clean and screamed vocals. It fit the tone of the entire show, with lyrics and a sound that felt deeply personal to the musicians. Guitarist and frontwoman Alison (Sunny) Faris didn’t speak much, except to thank us for our time, and to express gratitude at being able to tour with the other bands.

Next up was Primitive Man. They’re a three-piece, with guitarist/vocalist Ethan Lee McCarthy, bassist Jonathan Campos, and drummer Joe Linden. I can’t refer to any members as the frontman, since they didn’t speak for the entire show. They play slow, sludgy death/doom metal songs, with dissonant black metal-esque chords and blast beats, and deep bassy growls. The entire experience was somber, and refined in atmosphere, with small changes to the guitar and bass strumming adding layers of depth, and drums that sounded incredible over the sound system. I was surprised halfway through when a droney electronic bit started in the middle, combining noise and industrial effects. It was well integrated into the whole of their set, which was accompanied by visuals from a projector, distorted, pixelated, blurry faces in blue and red, both fascinating and horrifying, like the music itself.

Finally, Amenra. It’s hard to put into words the experience of their show. Their first few albums were titled Mass, and their shows are in the same ethos, closer to communion than mere concerts. Their music is indeed powerful, carrying so much emotion and pain that it is crushing in the most cathartic ways. Vocalist Colin van Eeckhout spent most of the show facing away from the crowd,  alternating between violent screams and a soft, gentle singing voice. It gave an even more intense experience when he did turn around, his metal grill glinting under the light of the projector, the visuals of which almost obscured the entire band at times. Often in black and white, the projections were distorted shadows of abandoned buildings, beams, and forests, with visuals that reminded me of the film Ivan’s Childhood by Andrei Tarkovsky (an excellent film, btw). Musically, the show was perfected. The speaker system at Studio TD has a very professional sound, and Amenra are experts when it comes to their sound design, with powerful drums and each instrument perfectly fine-tuned; even the hi-hats pan to different sides of the room. During the song Am Kreuz, replacement bassist Amy Barrysmith from the band Year of the Cobra provided backing vocals, and the contrast between her delicate voice and Colin’s scream made the experience all the more impactful. Like everyone else, I was entranced, closing my eyes and submerging into the experience. It resonated with the rest of the show; Amenra’s music isn’t about joy, but collective experiences of pain, with drowning, repetitive riffs, like trying to tread above water in a storm, but not quite managing. Most of the songs are from Mass VI, written during a time when vocalist van Eeckhout’s son was diagnosed with a brain tumour, and when drummer Bjorn Lebon lost his mother to cancer. I didn’t know this going into the show, but I think the feelings were conveyed without needing to know the details. There’s an honesty to their music that makes it relatable, regardless of what one might be going through. To finish the night, Amenra left us with a projected quote: “When all the flowers have fallen, all that shall remain are thorns.”