Mayfly by Effrontery
Zsolt Lédeczi: Vocal
Péter Lipák: Guitar
Ferenc Sasvári: Guitar
Bence Rambács: Bass
Zsolt Filák: Drums
Melodic Death Metal, Progressive
Arch Enemy, Death
02. Silence calls
03. Enslaved soul
04. Evil's curse
05. Born for burning
06. You cease to exist
07. The effrontery
08. Resurrecting your nightmares
09. Masters of life
Effrontery was founded in spring in 2001 in Martfű, Hungary. In 2005 the first demo, “Flaming Mud” was recorded in Citysound Studio, Budapest. In December 2010, the debut LP’s recording sessions started in Tonitrus Studio. In 2011, Ferenc Sasvári joined the band, who also acted as the sound engineer in the post-production of the album. The disc, entitled “MayFly” has been released in dec., 2012.
In April the band has participated in the finals of the Wacken Metal Battle Hungary competition, where they are placed in 5th place. In summer Effrontery played two festivals as well, the Rockmaraton festival in June and the first MetalWar festival in early September. By the end of the year, Bence Rambács joined the band as bassist.
It’s an orchestration, the elements of the orchestra follow more or less the conventional arrangement with the basses and double basses right and violins on the left side that in this case, at least initially seem a soloist violin.
The composition emotionally touching in his solemn entrance though quietly develops between the notes of a wistful violin almost yearning, built on the heavy footsteps of bass and double basses.
The brass sustain gently the violins, reproducing the theme they fading possess and reappearing in a final farewell. A pleasant composition, sober without technical excess, a bit inflated by the reverb.
Kicking, fast-paced, explosive “Silence Calls” shakes the doors of the concert hall and bursts violently. Panic broke out among those present while the drum kick technically prepared, varied, strikes the breasts of the present without persist long in the use of blast beats until takes his time to accompany a female voice.The doors are already closed when those who, still standing, seek the useless escape from the sprawling spirals of two guitars that cleverly inspired trap the last ones. It’s the minute 1:43 when the guitar speaks with an unusual and delicate melody almost taunting the dying bodies of the onlookers.
The specter of a woman, a woman who was not present in the hall, perhaps a ghost of centuries before it appears ethereal and vanishes suddenly ripped by the singer’s scream and by merciless guitars that galloping unstoppable.
Arise “Enslaved Soul” arise now because you belong us! So, while the rhythm section takes brutally possession of bowel lifeless, it becomes impossible avoid to follow a rhythm that works fine doing what it needs to do the music, move you.
After 24 seconds the band reminds us of how many times is various, changes, thinks again with intelligence the structure of the composition up to a climax that turn off and turn on at the dialogue between cymbals and guitars.
In the middle of the song a moment of reflection between the simultaneous use of scream and growl leaning against a constant double kick, evolve in the interesting crescendo solution of two guitars that engages the kick and subsequently the voice to prepares the entrance of the solo final.
So comes the evil with a sinister voice to pre announce the entrance and a rhythm section that with sharp chiming proclaims the entrance of his master. Scream and growl communicate on an alternating arrangement that carries with a positive lame perdition the listener until it’s again time to vary, to change, first lightly then more firmly, shortly after the chimes on the cymbal will have announced it. A whispered voice, the guitar solo mentions unexpected classical nuances to close with a new unexpected riff that winks out of death metal.
-Born for Burning-
“Born for Burning” represent as for the other songs, the distinctive use of rhythm and changes, there strong, there melodic, so once again after the successful use of “call and response” of two different vocal timbres, at the minute 1:56 we can not avoid to smile with pleasure at this new change that makes us say, ” but look what came up here”.
Just few seconds of a melodic theme then revised, just few seconds that in their originality overlook everything else and win over any other arrangement of the song,
-You cease to exist-
From 09 to 25 seconds, the rhythm section reminds us that sometimes the simplest solutions are the most effective to involve listening “You cease to exist” still gives us two notes worthy of attention, a change perhaps a little too direct at minute 1:14 and then, but all in all it’s daring where others dare not, that often are open doors behind which light up interesting surprises, like the guitar solo from minute 2:06 until its peak between 02:23 and 2:30 going out of context death metal and dribbling various musical genres touching them but without being a slave, perhaps accomplice few notes, reminds us of the Latin tradition.
The cymbals are a reminder that the instrument is also made to be played not only to give time and after all it’s not even obvious to think so, considering that articulations of this type within the rhythm section come along not so often, leaving space to the usual times, as if the drum could not do anything else. Luckily, some drummers every so often remind us.
-Resurrecting your nightmares-
Sometimes the nightmares are born from dreams and it is just so that through a delicate melody, heartfelt, that after about a minute the nightmares take form, animated by a strong growl and a sharp scream. At minute 1:51 once again the solo guitar solutions embellish a mosaic that even otherwise very nice, it would be too similar to others, but is at 2:54 minutes that the composition surprise us dragging the listener to faraway places, different from North Europe and Death Metal with that way of doing that is characteristic of this album.
-Masters of life-
Once again, the drummer reminds us that the drum is not just a rhythmic accompaniment but what most distinguishes “Masters of life” than the other audio tracks is the use of the orchestra that find more room with the use of brass and strings in particular from the minute 6 to 8 minute we seem to hear even woodwinds but unfortunately the sound is not not so brilliant and we can not determine it
Thus, while the spectra of a Viennese hall dance enraptured by the passion and ardor for violins/violas dissolving ethers, so the effrontery to greet us with a waltz rhythm that leaves empty, almost decadent, a room where lying on the ground lie now inert instruments that until a few minutes before had given so much.
“Mayfly” is undoubtedly a Death Metal album with progressive and melodic influences than inside it reveals little gems that recall genres and/or different music styles and yet always well integrated into the musical texture.
The rhythm section is always solid and never a wall that finish to squash of boredom the listener. The rhythm moves the listener, the voice follows and builds on the same rhythm. The composition works and the “Effrontery” are always at ease in their respective roles.
The changes and the melodies are never excessive and always catchy the main characteristics of the ensemble composition, however, sometimes the number of changes/variations is really pushed to the limits for the number of frequency and if it were not for the guitar melodies that often help to relax ear, tracks could flow away without being noticed.
In this direction, the tracks work well, but a lot better if taken individually. Listening to the CD from the first track to the last requires a certain commitment to the ear towards the middle begins to be tired and lose concentration.
We still enjoyed the changes made that show imagination and effort, the interesting melodies, the solos oozing emotions intertwined with images of distant places, without forgetting the cymbal game of the drummer.
Growl and Scream at some points take turns, others marching in unison. It’s a guttural growl, as it should be, away from those growl reminiscent of a monkey or a caveman. The usage is competent, solid. The singer proves that he has the ability to change it from a deep timbre, medium and high without encroaching in scream.
In order against the scream even aligned with the average, has not impressed us, resulting in rather static without being essential.
Orchestrations not convinced us particularly, a little bit because the listen quality has not allowed us to identify exactly the composition a little bit because they seem to be designed to be embellishments rather that have a defined part in the album, thas, mixed with the fact that appear infrequently, relegates them to the anonymity, the same for the female voice. “Mayfly” works fine without orchestrations.
Speaking of experiments, if the band is focused on the orchestral test could restrict everything to a single violin, played in real time or via VST. In particular, we’d be curious to hear a violin played in the gypsy manner that might give that extra touch of personality to the band, perhaps recalling the sounds of the land of origin.
The growl of the singer works so well that the scream could be abandoned or just limited to boundary effects. The value of change growl timbre so well allows him to cover different parts and styles, so those elements of change made by alternating growl/ scream would not be lacking.
Don’t forget to check their interview!