The side project of Opeth’s bass-slinging extraordinaire Martin Mendéz, White Stones emerged on their 2020 debut Kuarahy. Marketed as Mendéz’s return to his death metal roots following Opeth’s increased forays into vintage progressive rock, the debut featured some solid tunes and a chunky, quirky brand of prog-dabbled death. Striking while the iron’s hot, White Stones returned in quickfire fashion with 2021’s Dancing Into Oblivion. Unfortunately, the solid groundwork established on the debut was muddied on the sophomore opus, which increased the proggy inklings, yet lacked focus and cohesion, largely disappointing as a gripping, cohesive album. As an avid fan of progressive music and death metal in all its forms, the ways in which the two forms united failed to stick the landing. As a result, the album left me underwhelmed and disappointed. Regardless, there is a lot to like about White Stones. After a lengthier break, the project returns as feelings of trepidation and cautious optimism rise up.
White Stones have rapidly and impressively established a unique sound, despite the big-name baggage. The music is not completely devoid of Opeth-isms, nor have they jettisoned the more overt progressive leanings of the sophomore album, yet there is a genuine creative spirit and intriguing punch to the material. The experimental and progressive elements remain entrenched in the songwriting, as layered instrumentation and ambient atmospheres reside alongside the thick, rumbling nature and intricate twists of the heavier material, again proving the most appealing aspect of White Stones’s varied songwriting palette. Mendéz bass is expectedly given ample space in the mix to showcase his excellent low-end skills and melodies. Further embracing the band members’ Spanish heritage and culture, vocalist Eloi Boucherie delivers lyrics in his native tongue, with his clever phrasing and thick, throaty growls delivering the goods in a standout performance.
The painfully slow-building ambient tones and gradual rise and fall of the opening instrumental title track kick things off in low gear before the album launches proper. White Stones operate at their most vital and effective when they indulge their heavier impulses, without eschewing the quirky songwriting traits, rich instrumentation, and progressive intricacies embedded in their writing formula. An exotically intriguing instrumental build-up transforms into the signature, offbeat and muscular prog-death and groovy bluster White Stones execute well on the powerful “Humanoides.” The song structurally feels a little scattershot, but the mix of styles and twists somehow works, even including some scorching blasts and solos to spice up the meaty grooves and proggy elements. Elsewhere, White Stones make impactful statements in more succinct terms. “D-Generación” and “La Ira” are each loaded with a myriad of cool ideas, musical influences, and stellar musicianship. The compact, challenging structures gel and the hooks stick. The excellent axework across the album walks the tightrope between their prog and death urges, incorporating intricate, playful melodies, slashing shred work, beefier riffage, and idiosyncratic quirks to intriguing effect, such as the restlessly shifting turns on late album epic “Grito al Silencio.”
White Stones enjoy their pretty, quirky, ambient instrumentals, with a number scattered across the album, including “Zamba de Orun,” a jazzy, flute-adorned piece that intrigues, though overstays its welcome and arguably disrupts the flow of the album. “Somos” is a meandering less appealing interlude, while closer “Yemayá” closes proceedings with mournful, pleasant tones, ending the album in a peaceful, albeit anti-climactic fashion. I would not ordinarily place too much focus on interludes and instrumental pieces. However, it is important to highlight their prevalence and the fact they consume eleven minutes of the album’s tight thirty-seven-minute runtime. However, the overall writing and high points of Memoria Viva hit hard and outshine its predecessor, despite further issues with flow and balance between the band’s heavier moments and mellow excursions.
Memoria Viva features some of White Stones most accomplished, gripping songs in their short career, yet the songwriting balance remains a bit out of whack for my listening tastes. Despite my enjoyment of progressive metal and rock, White Stones insistence on scattering mellower, proggy experiments and interludes throughout the album’s course, including its bookends, disrupts the exotic and compelling writing that highlights the meatier, full-blooded material evident. The balance may work differently for others, however, while scraping a pass grade, Memoria Viva feels like another missed opportunity for the potential packed outfit to create something truly special.
Rating: 3.0/5.0
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Reigning Phoenix
Website: facebook.com/WhiteStonesOfficial | whitestones.bandcamp.com
Releases Worldwide: June 28th, 2024
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