The flute is commonplace within the realm of folk metal, but The Grove is unique. Folk metal often utilizes the flute as an accessory, a prominent yet singular part of the ensemble, but here, it’s the primary focal point. Kramer-Rodger specifically plays the silver flute, and frequently utilizes a glissando headjoint, where the mouthpiece can slide along the headpiece and allows for gliding, pitch-bending notes. Joining Kramer-Rodger is a cavalcade of varied guest vocalists and musicians. James Delbridge (Lycanthro) gives off some real power metal pomp, Laura Inferno (The Inferno Doll) cranks out some growls, The Darkeyed Musician sings with tons of gothic, magical energy, and Justin Bender (who also did the mix) gives a subdued yet effective guitar performance. Everyone brings their own unique flavor to The Grove, but never forget, these are Kramer-Rodger’s woods we wander through.
Kramer-Rodger’s performance on the silver flute is the lifeblood of The Grove, and it is, to put it lightly, beautiful. Her classical training is put to excellent use with clean, breezy flute playing that runs a surprisingly wide gamut between slow, Celtic melodies emerging from the trees (“Tenalach”) to lightning-quick step dances (“Ruination”). It’s a transportive flute performance that absorbs you into a whole other world. The flutes in “The Heart of the Grove” float gently betwixt acoustic guitars, beneath The Darkeyed Musician’s vocals which remind me of one of Epica’s gentler songs. The energy picks up as “Ruination” opens with the flutes joyfully dancing atop riffing guitars until the album’s high point comes in the form of high-speed Celtic flutes harmonizing with James Delbridge’s wonderfully flamboyant vocals. “Spirit Woman,” the heaviest song by a mile, employs a darker atmosphere with the harsh vocals of Laura Inferno and eerie flute melodies. This track took a little to grow on me because of how different it is from the rest of The Grove, but the song’s distorted flute solo is such a fun, memorable part of the album.
Good folk metal doesn’t necessitate massive guitar riffs that crunch with the weight of Eluveitie, but the production of The Grove veers a little too far in the opposite direction. Apart from “Spirit Woman,” the distorted guitars across The Grove are ever kept at arm’s length. They never distract from the flutes, sure, but in the heavy moments of “Heart of the Grove” the guitars fade into the background, even sounding almost like a backing track. It’s by no means a debilitating mix and is still overall pleasant—although the bass on “Spirit Woman” is uncomfortably loud—but the guitars could pull slightly forward without ruining the gentle, mystical vibes. On the songwriting front, I wish that “The Wild Hunt” didn’t prematurely end just as it begins to explore one of the album’s most fascinating flute melodies, and I’d love for Delbridge’s powerful pipes in “Ruination” to have more time in the spotlight. The Grove is only a bite-sized 28 minutes long, with the second-longest track being an instrumental rework of a previous one. I know the AMG motto is “less is more,” but I could’ve stood for just a bit more, though there are worse complaints to have than just wanting more of something.
I was fortunate to attend the Bandcamp listening party for The Grove’s release, and it was apparent to all how much passion Emma Kramer-Rodger has for her music, and that passion shows in this album. The flute may be no stranger to folk metal, but a fully flute-focused folk metal album still carries some risk, and I believe that The Grove is a success. It’s a little short, and the mix could tie everything together a little better, but the dynamic, fantastical songwriting and incredible flute performance should compel you to visit this faerie’s Grove. Just don’t eat any food the fae might offer you.
Rating: Good!
DR: 8 | Format Reviewed: 320 kbps
Label: Self-Release
Websites: emberbelladonna.bandcamp | facebook.com/emberbelladonnamusic
Releases Worldwide: February 9th, 2024
