Graphite Stain’s debut album Idus Martiae is a grim -but gripping- exploration of existential themes under the guise of heavy-handed death metal. The album’s wealth of meaty, distorted riffs, alongside prominent melodic ideas made it a characterful introduction to this fresh name in the realms of metal.
Based in Miami, Florida, Graphite Stain are a newly formed group whose debut does not shy away from its intense lyrical ideas and battering musical aggression. A rather enticing, melodic, and colorful metal album, Idus Martiae is an ample introduction to the group’s rich sound and thought provoking lyrical themes. Embracing the inevitability of death, Graphite Stain’s music is heavy, and their songwriting is brooding and dark. The arrangements are largely cohesive and uniform through this album, with songs being built on mostly intense, rhythmic riffs played by massive, distorted guitars, supported by punchy drum and bass parts that are written to closely follow the rhythm of the guitar riffs. The vocals offer a healthy mix of aggressive growls and soft croons, and a collection of vivid synths and pads are often filling up the gaps in the mix rather delightfully.
Among the album’s most stand-out songs are the picturesque starter ‘King of Nevermore’, a fantastic introduction to the band’s melody-heavy compositions, their heavy rhythmic arrangements, as well as a rich blend of sung verses and growled choruses. ‘Raining Over Clay’ is a bit of a continuation to ‘King of Nevermore’, with similar synths and a similar shapeshifting composition, while being a much heavier cut. ‘Ramos de Flores’ is a thumping and ambitious composition that is one of the album’s most gratifying. Less melodic and more manic and evil, ‘Ramos de Flores’ is a song that touches on thrash with a fantastic confidence. Truly one of the album’s most exciting cuts.
The album’s latter half features a couple of lighter songs that were also greatly put together. The morbidly titled ‘My Demise’ is actually one of the album’s most upbeat songs with its open-faced composition and glistening piano droplets. Perhaps summing up the whole concept of welcoming death that the album adopts. ‘Perfect Picture’ follows with another generally softer arrangement that features guitar work that’s more intricate than just the riffs. Vocally it is also the song that can be most described as rock on the album, and the album’s acoustic closer, featuring some bustling production and nuanced guitar works, ‘Drops of Rain’ finish the album on a high note.
Idus Martiae introduced me to the vivid world of Graphite Stain, their provocative musical and lyrical ideas, and their exquisite charisma and boldness. A rewarding listen from a promising new act.
