Album & EP Reviews

Belle Morte – Pearl Hunting

Belle Morte – Pearl Hunting
WormHoleDeath
Release Date: 24/01/25
Review by Beth Morait
9/10

I first came across Belarusian Symphonic/ Gothic Metal band, Belle Morte, back in 2021 when they released their debut album “Crime Of Passion.” It was a concept album, told from the point of view of a murderer and victim. And, despite its heavy topic, it was a great debut offering (read my original review here). 

The new album moves away from ‘concept’ as such, choosing a more exploratory path, including multiple traditional Folk musicians from around the world. This approach allowed them to work remotely with artists from Belarus, Finland, Ukraine, Poland, Mongolia, Indonesia, Portugal, Germany, France, Peru, Japan, and Italy. The band said about this idea that “Just like pearl divers search for treasures in the deep sea, Belle Morte have explored different music traditions.” And it makes every song slightly different. Although it still has the trademark Belle Morte sound, the use of ethnic instruments adds a completely new dimension. 

Opening with title track, ‘Pearl hunting,’ we’re instantly treated to this new direction with the inclusion of Bouzouki (similar to a Mandolin, but with a longer neck), Lyre (a small harp), Duda (similar to bagpipes), and Sopika (a wind instrument similar to a recorder) – a collection of instruments often used in traditional European Folk music. This first track keeps things fairly acoustic, with added choir to back up the lead vocals, delivered by Vocalist and band namesake, Belle Morte. 

In the second track ‘Falling Idol’ we get our first glimpse of classic Metal riffs meeting Traditional Folk instruments, with the addition of a Finnish Jouhikko (a 2-, or 3-stringed bowed lyre). I’m pretty sure I can hear a Jew’s Harp in here too. This is an instrument that fascinates me, and I’m definitely going to add one to my instrument collection at some point. 

I was lucky enough to grow up in a household full of music, with a father who was an avid collector of instruments, especially unusual and ethnic ones. He owned the biggest collection of instruments in Wales, and regularly went all over the country to give lectures on the history of music around the world. And at one point or another he owned all of the instruments used on this album. I was never inquisitive enough as a child to ask about what they were called, or how they sounded. They just existed around our house, hanging on walls, propped up in corners, or hidden in storage boxes in the attic, and I suppose I was so used to them just being there that I didn’t stop to think about them. So, listening to this album, and searching the instruments as I listen, then finally making the association between the instrument and the sound it creates, is actually really wonderful. 

Anyway, I digress. The album continues in this way for the first few songs; Placing the heaviest influence on the Folk instruments and fitting everything else around them. Track 6, ‘Losing Faith’ however, feels a little different. Here we are back to standard Symphonic Metal, with the addition of Pan Pipes, Ocarina, and Quena used to enhance the instrumentation in the background. The following track ‘Black Waters’ creates a stark contrast, by shifting back to an acoustic number, in a mournful lament almost completely seated in Traditional Folk music. It also has the addition of Sudanese Vocals provided by Maulana Malik Ibrahim, which add further depth to the sound. There’s a good mix of fast-paced, Dark Metal tracks, and slower laments on offer here, that keep you interested, wondering what will come next. 

And the answer is pretty much everything they can possibly ram in, which makes the album around an hour long. So, it’s a pretty mammoth listen, which does wear you out a little, but it’s definitely worth it if you like the lines between traditional Folk instruments, and Metal, being blurred. 

I think my favourite track on the album is ‘Jorōgumo’. It uses Japanese instruments (the Shamisen – a stringed instrument similar to the bowed Lyre, which is plucked instead of bowed, giving it a spikier sound, and the Shakuhachi – a wind instrument similar to a recorder, made out of bamboo). But it adds much heavier metal riffs, and Death Metal growls, which really work. 

Again, my only gripe, as it was with their first release, is the male clean vocals. For me they’re too clean. He’s got a nice voice, but it’s not quite operatic enough to be operatic, and not raw enough to be Metal. I think having the juxtaposition between operatic female vocals, and more gritty male vocals would really make Belle Morte’s sound something special. That said, this is still a very strong offering in its genre, and I’ll keep watching this band to see what they do next!

TRACKLISTING:
01. Pearl hunting
02. Fallen idol
03. Exorcism
04. Blame me
05. Wintersleep
06. Losing faith
07. Black waters
08. Willow
09. September
10. Jorōgumo
11. Krew
12. Exorcism (piano version) 

LINKS:

Disclaimer: This review is solely the property of Beth Morait and Ever Metal. It is strictly forbidden to copy any part of this review, unless you have the strict permission of both parties. Failure to adhere to this will be treated as plagiarism and will be reported to the relevant authorities.