ÍDOLOS (FRA) – Náa, 2021 🇬🇧


– Versión en castellano –

How far can you take a concept? How deep can you immerse yourself in a constructed role? ÍDOLOS, the French atmospheric black metal band that debuted last year with the EP Ahi Cab, introduce themselves as Venusians who came to Earth to spread a peaceful message and to become the salvation of the human race; infiltrating themselves among us by using this musical language. An idea halfway between the legend of the Annunaki’s and the critical analysis of humanity in The Day the Earth Stood Still (1951, Wise, R.). 

As one would have guessed, if they were to continue playing, they would keep the peaceful invader’s roles up. Neither that their message would become more and more elaborate, with manifestos that seem to be influenced by some destructive sect. You may like their music or not, more or less, but we should all agree on there is some merit to creating and developing your own mythology. 

Musically wise, you can actually find parallelisms with their thematics. The root remains as it was, but there are new layers of content and there is an evolution. A progressive rather than a radical one.

Ahi Cab was a straightforward atmospheric black EP, but it stuck in your brain easily. It wasn’t groundbreaking, but it made sure you wouldn’t forget about it. Náa, however, and simply put, is not that simple anymore. It doesn’t get into your system as fast. Most probably because it has gained in details, which seems the way to go for the band if they want to avoid reaching the self-plagiarism point. In other words: it was inevitable and logical. 

As such, we have the addition of the synthesizer, especially in «The tricks of Lady Blood» and «The miracle of the maize«, giving a slightly different feel to both tracks. A different kind of atmosphere, so to speak. Some death metal is thrown in on «The descent«, albeit in small bits, or how the double bass drum use increases just enough to be noticeable. Although in their manifesto they declare themselves to be creatures of peace, in these moments they seem to be playing a less forgiving and a more angry at humanity part. 

After all, they are minor details, because Náa is more of a continuation than a breakthrough. The only flaw is that in this evolution, some of the memorability presented last year has been lost. There is no «The Summoners«, i.e. a song without complex changes, without too many layers, but one that is easily remembered and it is catchy. It’s not something that’s going to slow down their career and throw away what they’ve done on Náa, but it’s one step short of exceeding its predecessor in every way. They are just one step shot to the top.