Some albums have all the right ingredients, but the presentation needs tweaked. I think the new one from Raphael Weinroth-Browne is a good example. It’s called Lifeblood and it released on October 3rd.
Raphael is becoming well-known in progressive music circles for his collaborations with bands like Leprous, Silent Skies, Kalandra, and more. His immersive cello performances have added purity to a number of songs I absolutely love. He plays everything here, including acoustic cello, amplifiers, and effects pedals.
The music is modern classical but with metal and cinema in its blood. Raphael’s cello is front and center, and he plays it with vibrancy and creativity. There are moments that feel like “riffs”, but just as many that are utterly smooth, almost exotic streams of emotion. There is no denying that Raphael thinks outside the box but also lays down some truly beautiful and nostalgic sounds.
Lifeblood is an interesting album that I think has some pace issues. The first half is by far my favorite, not necessarily because the first four songs are better, but because they flow in an exciting and varied way. The final four songs seem longer, quieter, and less eventful, so I’ll be the first one to admit that the album sometimes feels longer than it is. However, taken individually, the songs are all beautiful and brilliantly composed. I think a reordering of the tracks could have helped immensely.
The album begins with the title track, which has a beat and effects, plus a riveting and heavy cello performance that feels satisfyingly dark and mysterious. It is nine minutes of gorgeous darkness. “Possession” follows and is a shorter, spunkier, almost unnerving track with Middle Eastern vibes and lots of character. Next is “Ophidian”, a track that has really grown on me; it has a slow burning energy that keeps you alert and appreciative of the nomadic cello bow. My favorite on the album is “Pyre”, a short and potent track that is absolutely pregnant with life and death and emotion. I love the music video, too.
The second half begins with the eleven-minute “Labyrinthine”, a gorgeous song that might unfortunately slow down the whole album after the already-ponderous “Pyre”. Back to back, it makes the album feel like it’s lost steam. Still, it is a wonderful track with slower melodies punctuated with colorful portions. “Nethereal” follows and doesn’t make the album feel like it’s picking up again, but it also happens to be a favorite. The track has a squirrelly and powerful style that especially rises near the end in a way I really like.
The last couple tracks are also fairly slow and ponderous, making the album feel like it never really ends. But they are good songs. “Winterlight” is an introspective and atmospheric piece that is shorter and familiar, feeling like the bleak sunset in winter as you are cozy and warm inside, or something like that. It feels fleeting somehow, like the cycle of darkness and light, death and rebirth. The closer “The Glimmering” has the same flavor, only growing in layers and gentle cinema, and I love the reverberating, floating melody near the end that seals the album.
Lifeblood is a gorgeous album that could have benefited from a slightly different presentation, but that’s just my opinion. Raphael is a terrific composer and performer, and his cello sound is like comfort food. I recommend this for listeners looking for something soothing and different.
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