Detailed Reviews [Mausoleum Gate - 2017 - "Into A Dark Divinity"]

Prolusion. Finnish band Mausoleum Gate was formed back in 2009, and after an initial demo, a single and a compilation featuring both of these initial forays into the world of recording artists the band launched their debut album "Mausoleum Gate" back in 2014. "Into a Dark Divinity" is their second and most recent album to date, and was released through Italian label Cruz del Sur Music back in 2017.

Analysis. While Mausoleum Gate is a band that by and large is described inside of a traditional heavy metal context, the material we get on this second album of theirs comes across as being made from a slightly different perspective. More hard rock than metal for starters, and more progressive oriented too when it comes to that. We do get some songs that aim for more of a hard rock and early heavy metal orientation here, and then first and foremost the shorter songs here when it comes to that aspect of the material. Tight guitar and organ combinations with a distinctly vintage sound is the order of the day here, with bands like Uriah Heep and Deep Purple as obvious points of reference, possibly with a little bit of Led Zeppelin and a whiff of early 80's traditional metal too. These are traits that are also present to a lesser or greater degree in the longer compositions, alongside some references to a band like Black Sabbath, and then the classic 70's era of the band in particular. The more interesting part is the additional feature more particular to those longer escapades. Wandering acoustic guitar passages with a bit of a pastoral touch as the more lightly intriguing detail, and more elongated, elaborate and atmospheric laden parts with more of a symphonic progressive rock feel to them as the expansion that is more profound. Organ, keyboards and Mellotron come together here in a manner that more often than not comes with associations to a band like Camel. Occasionally with a darker undercurrent being very much a presence, but there are plenty of moments throughout here that will be instantly recognizable for long time Camel fans. Up to and including some delightful floating guitar solo overlays explored and executed in a distinctly Latimer sounding tradition and orientation. One of the distinct charms of this album that will also be a divisive one is the quality of the mix and production as well as the general recording quality. This sounds like a vintage album on all levels, and very much like an album made on a budget back in 1975 or thereabouts. There are some noise artifacts present, the sound is a bit muddy, the instruments lack the clarity we are used to now in modern times. This obviously makes the music sound more true and honest too of course, it does emphasize the vintage aspect of the material and does send you on a bit of a trip in a time machine. While not a feature that will be universally appreciated, it is an aspect of this album that also will strengthen its appeal among those who love and appreciate artists taking the time to really explore that vintage sound and feel, with warts and all included.

Conclusion. For me this is the kind of album that appears to revolve more around the sound and mood aesthetics than it does about the specific style and orientation, and those who love and treasure vintage rock music from the underground scene in the first half of the 1970's in general will appreciate those aspects of this production. For those with more of a style and orientation appreciation, this is a fine blend of classic era hard rock and atmospheric laden symphonic progressive rock that sounds like it could have been made in 1975, in a kind of Deep Purple meets Camel with Led Zeppelin and Black Sabbath tagging along manner. Those who find such a description intriguing should also find this album to be quite the rewarding experience I reckon.

Progmessor: April 2023
The Rating Room