Text by Luis Fernando Ribeiro
The heavy metal scene in Florianópolis, Santa Catarina, is in full swing and has recently gained another significant addition. Following important releases in recent years from Santa Catarina (see bands like Red Razor and Raging War , among many others), Matriarca, founded in mid-2014/15, releases its first EP. Leather Heart was born with the status of one of the heaviest and most creative albums released in the state.
Mixing hints of classic rock, traditional heavy metal, and extreme metal – in what the band itself calls extreme rock 'n' roll – their varied influences serve only as a backdrop to the originality of the sound practiced by the quartet formed by Lucas Miranda (guitar/vocals and main composer), Willian Bernardo (vocals), Gabriel Porto (drums), and Daniel Rosick (bass), and produced by Júlio Miotto .
I listened to the album relentlessly upon its release and listened to it again recently to write about it and make sure it was really as good as before, or if it wasn't just momentary excitement. The pleasant surprise is that the album gets even better, more solid and convincing with each new listen, and here are my impressions of these five excellent tracks.
The title track opens the album and catches the unsuspecting listener by surprise when the esque , totally rooted in classic heavy metal and rock 'n' roll, are followed by Will's demonic vocals. Black, death, thrash, rock 'n' roll and heavy metal are all thrown into the same mix, and from this unlikely recipe emerges a captivating and surprisingly good sound.
This combination may not be new to fans of heavy music, but rarely has a record with such a mix caught my attention and held my attention for its quality and for not sounding completely lost as in other cases, properly reminding me of Satyricon and what Abbath ( Immortal ) did in "Between Two Worlds", from his solo project I.
Leather Heart opens with the title track where, aside from the vocals, the sound is quite traditional and direct, with heavy riffs, very well-placed and executed solos, heavy and no-frills drumming, growling bass, and choruses in the style of Exodus , as if the band wanted to prepare the ground by giving an introduction to their formula, which would be better explored throughout the album. According to Lucas, the song's composer, its main riff emerged almost unintentionally when presenting the idea of the band's sound to the then future vocalist Willian.
“Carried by Southern Wind” emerges with a greater heaviness than its predecessor, flirting with hardcore and featuring notable highlights. If the previous track introduced the album, the second seems to showcase each musician and their individual qualities and characteristics, from the opening driven by the drums and varied rhythm section to the well-exploited double bass pedals in the song's most extreme parts. From the more explicitly sung parts to the inspired demonic roars. From the “dirty” and precise riffs (and a feel that reminded me of Rage in “Soundchaser”) to the beautiful and well-crafted solo, from the galloping bass line to the moment the band falls silent for the rhythm section to show its cohesion (reminiscent of Torture Squad in “Æquilibrium”). The song's final section is an irresistible invitation to headbang.
In “Holes to Bury the Dead,” the band steps on the gas. The more classic rock and heavy metal side is set aside a bit, and the heaviness takes over in a fast and vigorous thrash, especially during the 2:20 mark, which showcases the musicians' perfect synergy. From that point on, the song flawlessly oscillates its tempos and mood, with guitar and bass solos, robust riffs, intricate passages, and rhythmic breaks of undeniable good taste and technique. The song should work very well live, as can be seen in the recording the band made and uploaded to YouTube of their most recent performance on their own channel.
My favorite, “Io, Saturnália,” takes the opposite path from its predecessor, starting with a very heavy feel and from the middle onwards the whole band seems to have been possessed by the invocation rites shouted in “Bacchus, Inuus, Priapus, Fame. Profane rite. Stain of the soul,” and the sound becomes epic, dark, extreme, and demonic. The interpretation and sound are so well executed that the song is almost frightening. Also noteworthy are the excellent backing vocals and the very well-constructed lyrics that blend passages in English, Portuguese, and Latin.
“Insidious Doctrine” was the band's first composition, but here it's responsible for closing the EP with a flourish, incredibly heavy, full-bodied, and to the point, in an interesting mix of heaviness and good melodies, leaving the listener, especially this writer, with high expectations for the band's first full-length album , which, despite this recent release, is experiencing some personal uncertainties regarding its future. Those who enjoy the album will be rooting for Matriarca's career to solidify and for her to bless us with numerous other releases of the same quality as this debut EP.
*This text was written by a Wikimate and does not necessarily represent the opinions of the site's authors.
