Harry Shiels
Formed in 2018 as a method of coping with a traumatic near-death experience after Vocalist/Guitarist Haitao Yang was shot in the head in a carjacking gone wrong, Laang 冷 (“Cold”) have quickly established themselves as a force to reckoned with from the East Asian Black Metal scene. Releasing their debut album Hǎiyáng (海洋 Ocean) in 2019 and quickly following up with 2021’s Xīnténg (心疼 Misery/Distress) netting the band headline tours in Taiwan and Hong Kong as well as a headline North American tour in 2022. New album Riluò (日落 Sunset) continues the bands journey exploring their internalised trauma recovery, specifically conceptually exploring the experience of dying. Producing elaborately crushing Melodic Black Metal; performed in Mandarin, as well as blended with additional orchestral alongside traditional Erhu and Guzheng instrumentation.
Album opener and lead single ‘Bàoyǔ 暴雨 (Rainstorm)’ gets straight to business. An unearthly howl from Yang gives way to the expected black metal staples of furious tremolo picking and blast beats, paired with the epic grandeur conjured by the orchestral synths and traditional instrumentation melodies. The riff that follows breaks from the black metal ferocity in favour of more of an approach somewhere between Melodeath and Metalcore. Immediately following is another single ‘Liúxuè de tàiyáng 流血的太陽 (Bleeding Sun)’, opening with a orchestral synths that would make Dimmu Borgir proud as well as a chorus with a massive dissonant melodic hook thrown in. There is a prominent backing vocal and Erhu melody that appears at points across the song, adding a memorable melodic hook that stays with the listener.
The production of the album is very polished and modern, sounding a lot closer to metalcore or melodic death metal acts than the more oppressive atmospheres typically favoured in the black metal world. It works well for the more grandiose orchestral synth melodies as well as with the Erhu and Guzheng parts, allowing for some wonderful clarity on the traditional influences the band embrace; yet it can leave the more ferocious side of the band feeling a little restrained at times.
The strangest aspect is the drums, credited to a session drummer by the name of Zak King, its hard to distinguish whether it is a live performance or programmed drum patterns in the studio. There are some moments where the timing for the drum fills gets quite sloppy and erratic killing the momentum of some songs, such as the final moments of ‘Liúxuè de tàiyáng (流血的太陽 Bleeding Sun)’.
That being said, the songwriting and performances or Haitao Yang and Willy “Krieg” Tai are great. In every track there is a wide breadth of interwoven melodies and harmonies across the busy orchestration leading to some breathtaking passages of grandiose instrumentation. Yang’s vocal performances are also excellent, ranging from pained wails to inhuman roars in their native Mandarin emphasises Laang’s unique approach to a melodic black metal sound.
‘Guī xiāng (歸鄉 Homecoming/Return Home)’ feels incredibly reminiscent of Svalbard and their mixture of black metal ferocity and emotionally charged melodies, the chorus in particular brings that post-hardcore punch for big crowd chanting energy. Another standout track, ‘Yèqǔ (夜曲 Nocturne)’, is the most straight up black metal showcased here and fittingly so being named after a type of musical composition evocative of the night. Using a very dramatic introduction to build tension before launching into full blown black metal furore, its very chaotic (in the best way possible), the momentum of the track lurching back and forth in dizzying fashion.
Title track and the album closer ‘Riluó (日落 Sunset)’ is a somber finale and aptly so. Said by Yang to be his way of saying goodbye to and mourning the death of “the man he was before his experience, knowing he can never be the same again”. The soft piano introduction sets the stage for the highly melodic and emotionally charged experience to come. Haunting vocal melodies harmonise with the guitar parts, a slow stomp is used to accent the ferocious power of the blast beats.
Riluó (日落 “Sunset”) is another decent entry into Laang’s back catalogue. Whilst the problems with the drums can get a little overbearing at time, for the most part its not a deal breaker and doesn’t pull too much focus away from the band’s successes. The unique thematic perspectives pulled from Yang’s real life trauma make for a compelling and heartbreaking exploration of death, combined with the band’s strong commitment to engaging melodies form an album with a lot to offer across its eight song journey.