By Leandro Abrantes and Luis Fernando Ribeiro
All the mysticism surrounding the countless cultures and legends within a continental country like Brazil serves as a reference for good stories told around a campfire, in books with pages worn by time, or – why not – on heavy metal records. Released independently on January 15th of this fateful year of 2020, Boiuna , by Vocifer , brings with it the synergy of a band with almost six years on the road and the experience of having played alongside big names like Noturnall with Mike Portnoy (ex- Dream Theater ) and Edu Falaschi (ex- Angra , Almah ) and recorded with renowned artists such as keyboardist Fábio Laguna ( Angra , Hangar , Freakeys ) and producer Thiago Bianchi (ex- Shaman ). Carrying the echoes of their people's rich culture in every song, the Tocantins-based band Vocifer presents us with a bold debut concept album, set to the sound of dark and heavy heavy/power metal, creating the perfect atmosphere to tell us the myth of the Lady of the Waters, the Boiuna snake, and other legends of Amazonian folklore.
The album opens with “Release the Night,” its subtle and elegant melody introducing vocal lines that evoke a restless calm, like that which precedes an impending storm. The thunderous drums and bass, along with sharp riffs, break through the melody with a grave urgency, immediately showcasing all the musicians and the band's identity, demonstrating that they drew upon their own resources to create the atmosphere needed to tell this story.
Despite promoting a story from Brazilian folklore, it wasn't necessary to seek elements in folk music to create the band's identity. The epic sound and the musicians' technique create a dramatic enough atmosphere to support the depth of the lyrics, leading the song in a tense manner to the chorus, which is simultaneously thunderous and energetic, yet dense and somber like the darkness of the closing skies sung in the verse. After the chorus, the whole band stops, and Lucas Lago on the bass masterfully introduces the instrumental, individually leading each musician to Pedro Scheid , full of a dark but intense emotion, with a very well-chosen scale and holding the last note in a suspenseful tone, again calling for the bridge to the chorus, which is repeated even stronger and more epic than before, as if breaking with the first part of the song and paving the way for the story that will unfold in the rest of the album.
The powerful and full-bodied riff that opens “Lady Moon” is filled with suspense and tense expectation, reinforced by the thunderous entrance of the bass and drums, which form a veritable wall of sound before the guitars emerge into the melody and return to the main riff naturally, driving the music in such a way that all the instruments follow the same path, but eventually stray to bring their own elements and enrich the grandeur of the composition. The bass delivers beautiful and well-placed phrases while the drums follow the main riff. Then it's the drums' turn to explore their more broken rhythms, and drummer Alex Christopher explores his instrument with his refined technique. All of this builds an excellent atmosphere for the entrance of the lyrics, where the musicians continue to run this sonic machine while João Noleto interprets the song with the mastery of a true storyteller , conveying the need for hope of a people fearing the darkness of such a dark night. The chorus is instantly catchy and sounds like a plea for surrender, proclaiming, “Creatures of the night, fly with me far away from here, where evil cannot reach me.” The guitar accompanies the vocals like a second voice, gaining an even more epic tone when joined by the almost angelic backing vocals. The second part remains tense, laden with heavy feelings like hatred and envy, culminating, after the chorus, in a new guise, caused especially by the clear guitar melody, transforming all the anguish of the past into hope when the character “flew away to rest in pieces, far from the sadness of being free. She flew away from evil, high up with her wings of freedom, above the clouds,” becoming Lady Moon, the one who brings hope amidst the darkness, “Lighting the way for you.” Pedro Scheid 's solo emerges vibrant, showcasing intelligent technique and execution, with well-executed arpeggios and tappings, radiating light and hope amidst the darkness created by the lyrics and the gloomy atmosphere of the song's darker parts, leading the music to its conclusion driven by a solid and intricate rhythm section.
“The Curse of River's Lord” is divided into two parts. The first is a bit more direct than the previous songs, beginning with a marching riff that accompanies us to the end of the song, followed by a virtuoso bass interlude and punctuated by captivating melodies that stimulate the bravery of a people facing imminent battle, forged in the same school as bands like Helloween and Gamma Ray . João Noleto appears fearful and cautious about the threat of the abomination on the riverbanks, the protagonist of this story, but soon becomes defiant like a warrior inciting his tribe to fight Boiuna, shouting “Now we'll see who owns the night. We're going to kill you.” The chorus is powerful, captivating, and brimming with the confidence of warriors who will fight to the death if necessary to free their people from darkness, with a clear battle atmosphere fueled by the frenetic rhythm of Alex Christopher's double bass drumming, where even the song's interpretation tests Noleto's breath, supported by majestic backing vocals, always very well used. The post-chorus section is grandiose, exploring an Iron Maiden , going from "Brave New World" in the solo to "Powerslave" when guitars and bass come together for a beautiful melody. After another chorus, the track ends somewhat abruptly, lacking a more episodic transition to the second part. The second part emerges icy and melancholic in the unmistakable form of a beautiful ballad in the style of Blind Guardian 's most recent albums, driven by a clear guitar strumming, Fábio Laguna , and the laments of a defeated warrior who cries tears of blood in the sepulchral silence of the carnage by the riverbank, admitting "that the lord of the river owns the night." Gradually, the melancholic tone gives way to the torment of memories that never go away, and the song erupts explosively in a moving chorus and an emotionally charged solo, worthy of the magnitude of an epic ballad, where Pedro Scheid conveys feelings of pain, loss, and reparation that only a great composer could translate into song, making this not just the best, but the most beautiful composition on the entire album. The infinitude of the song's ending in fade-out leads us to believe that the curse of the lord of the river will never end.
“Primal Clash” is the most complete and, consequently, the longest and most complex song on the album, ranging from heavy to power metal, from moments bordering on thrash to others steeped in Brazilian music. The lyrics are also the longest and so narrative that the chorus almost goes unnoticed amidst the verses. The song begins with a very melodic feel à la Dragonforce , but soon transforms, drawing on the Brazilianness of Angra , without trying to be a new Holy Land , driven by Alex Christopher's broken time signatures, who isn't afraid to march on the ride cymbal and toms to the rhythm of baião and progressive metal, and who, alongside the galloping bass, forms a very technical yet organic rhythm section. The collective composition gives space for everyone to shine, demonstrating the musicians' synergy and generosity. The music has two very distinct moments, one extremely heavy, where the full-bodied riffs and melodic interventions of Pedro Scheid dictate the urgency and ferocity of the sister and primitive forces clashing on the riverbank. The second moment begins with a solo laden with mystery and mysticism, followed by a dive into the band's creative depth, in an absolutely subtle passage driven by the beautiful line of the renowned keyboardist Fábio Laguna (Angra, Hangar, among others) and the always delightful interpretation of João Noleto, speaking of a love that fills an empty heart and a soul brighter than gold, destined to pay for the sins of an evil twin brother. Slowly the whole band is reintroduced, first by a beautiful bass flourish, then by the ever-harmonious vocal choruses, then by the rumble of the drums and, finally, by the intricate riffs that restore the song's original epic weight, worthy of the battle narrated by the chorus, where both brothers fight knowing they are part of the same curse.
The second half of the album begins with “Up On The Hills,” which features an absolutely catchy and sugary melody and a drum track marking the beat, in a style that blends elements of power metal and hard rock, something that Edguy and Axel Rudi Pell do masterfully, or that Helloween did in “The Time Of The Oath,” to give the reader some context. Lucas Lago's bass always emerges growling and bold, overwhelming the melodies with its consistently devastating weight, and alongside the precise drum interventions, creates an atmosphere of tension – which will certainly be accompanied by applause at live performances – and urgency for an anguished narrator on his hunt. It's worth highlighting at this point the richness of the narratives told through the song lyrics, placing us inside the story as in a good fantasy book or a role-playing game. In the first verse of this song, for example, where the narrator anxiously tells us, “I must hurry. I must finish the hunt. I must reunite with my people before nightfall. The village is right ahead, almost there, I can feel the cool breeze and the magic in the air,” it's possible to feel part of it, as if inside the story being told. The album's concept, if poorly utilized, could become bureaucratic and tedious, but the metaphorical and interpretive character, in addition to the quality of the lyrics, means that, despite a single story being told from beginning to end, the songs also work very well individually. The chorus and the solo are the highlights in “Up On The Hills,” sounding absolutely catchy and with a vibrant and transcendent energy that takes you along with the ardent-hearted character above the hills. Alex Christopher's performance is also a highlight in this track, showcasing his entire repertoire with constant tempo changes and a voracious and very well-executed double bass drum.
“Lord Of The Rain” begins with a riff that ranges from Torture Squad to Metallica ,” showcasing a band with immense creative scope in exploring elements so distinct from their original sound. Despite this, some elements of the song have highs and lows, making it stand out less than the other tracks on the album. Don't be mistaken, we're not talking about a bad song, far from it. Everything is there: a great chorus, the measured and dense weight of the riffs, a captivating melody, a tasteful solo full of effects, beautiful lyrics, and the consistently creative and competent rhythm section. A good song, but one that might go somewhat unnoticed amidst so many excellent tracks.
Next up, “War Of Vendetta” draws on thrash for its powerful riff, one of the heaviest on the album, inciting a march to war. The overlapping guitar lines create the necessary tension for the imminent battle. João Noleto explores new facets of his vocals, reaching beautiful notes in a sinister interpretation of the lyrics, speaking of cannibalism and wars where victors eat the losers to absorb their virtues. The band's well-established – but never stale – formula for conducting their songs demonstrates a maturity that may allow them to soar to greater heights, reaching the level of great bands in the genre, depending on the musicians' artistic competence. Despite being a more direct song, the album's eighth track has all the elements that have enchanted us so far in the band's sound: the blend of heaviness with the melodies of the guitars and the dense wall of sound formed by the firmness and competence of the rhythm section, which is not merely a foundation for the songs. The bridges to the chorus and the solo showcase the band's exceptional technical skill, and the solo itself is so well-constructed that it practically continues the narrative of the battle. The warlike weight of the song's ending brings the album's heaviest track to a monumental close.
The placement of “Hummingbird” – the album's single – in the tracklist shows a band with a much greater artistic concern than a commercial one, but the choice proves to be correct, since the track carries all the elements that formed the foundation of this beautiful debut . It's also worth highlighting the quality of the album's production, handled by Thiago Bianchi (ex-Shaman), where all the instruments are clearly "in your face" and no musician goes unnoticed at any point. This is a "team" track, where everyone plays for the collective more than ever, delivering the highest level they possess as musicians, making it the most technically elaborate song and the most exquisite composition on the album. The song begins with a drum beat reminiscent of Helloween's "Power," but veers into more tribal and distinct paths from melodic metal, focusing on the heaviness of the instrumental and a more subdued vocal performance, like a master bard telling stories around a campfire, recalling in some more spoken moments the work of Bruno Maia from Tuatha de Danann . The guitar layers, which in the studio were all played by the band's then-sole guitarist Pedro Scheid, should work even better live with the presence of the band's now second guitarist, Gustavo Oliveira , who will certainly add strength to the composition of an even more powerful second studio album. It's also worth noting that after the album's recording, drummer Alex Christopher was replaced by the highly competent Raphael Carvalho , recommended by Alex himself for the position, taking over the drums from the album's release tour onwards. The solo is absolutely well-executed by both Pedro and Lucas's bass line, which creates phrases that beautifully complement the guitar. The lyrics of "Hummingbird," perhaps because it was the single, can be interpreted more in isolation from the rest of the album, beautifully and poetically guided by the wings of a rare hummingbird with flaming wings through spring nights, where the chorus cries out for guidance, imploring "Show me the way, where I should go, with your endless light, Hummingbird," and its rhythm, especially with the intricate and interwoven drumming that seems to go against the grain of the song, perfectly matches the uncertainty of the path to be taken.
The final track, “Used To Be,” closes the listening experience in a dignified manner, but falls short of expectations, lacking the creativity and spontaneity of the rest of the album and leaving a gap at the end of the story, like those grand films with an open ending. It is a beautiful song, with a very intimate composition, but which draws from some very clear sources, such as Angra's “Hunters and Pray,” with roots heavily rooted in Brazilian culture, generating immediate identification with fans in Brazil and spreading our culture to potential fans outside the country.
Boiuna is an album brimming with emotion and good taste, meant to be consumed as a whole and in continuous doses, where with each new listen, new nuances and new elements can be observed. Listening to the album with the lyrics at hand is essential for an even more immersive experience.
The quality of this recording leaves the band with a difficult but enjoyable task: to compose an even better next studio album – which, frankly, should again be a concept album, given the band's assertiveness in this format – and the fans, including ourselves, eagerly await the successor to this excellent release from the ever-rich Brazilian metal scene, which was born with a great chance of taking Brazil's name to the world.
Luis Fernando Rating: 9.2
Leandro Rating: 9.1
