Ah, yes, the time has come for the highly-anticipated release of Zeal & Ardor’s Stranger Fruit. As only he can, Manuel Gagneux has, once again, turned black metal on its head, expanding the genre as it has never been expanded before. And, as expected, the new album is incredible.

Stranger Fruit, on the whole, is a logical and precise follow up to the debut release, Devil is Fine. The strongest parts of Devil is Fine have become the springboard upon which Stranger Fruit takes the listener diving into the deep end. With zero filler on both albums, from start to finish, this is another flawless showing from Gagneux and friends.

Right from the get-go, with labor chants drenched in anguish as slaves turn toward the devil, listeners can feel that this will be a darker, more meaningful trip with Zeal & Ardor. One song easily bleeds into another, with the constant push and pull between echoing chants and chaotic, tremolo black metal sections. It’s truly hard to discern, in some spots, where one song ends and the next begins, as the interludes blend flawlessly into the tracks, making the album almost seamless. In fact, those powerful interludes help make Stranger Fruit the strong collective it is.

With Gagneux’s impeccable vocal range, it is hard to believe that he could sound better than he did on Devil is Fine. However, Strange Fruit makes Gagneux the centerpiece. His vocals are stronger, and his range takes listeners to higher highs and lower lows than previously heard. His vocal confidence is apparent on Stranger Fruit. As Zeal & Ardor started as the answer to an almost jeering request from two social media users, it is clear that the joke is truly on them; Gagneux is doing the best work he’s done with this project.

Speaking of projects past, Gagneux’s extensive knowledge of music is clearly his advantage. One can assume that his work with chamber pop outfit, Birdmask, influenced Stranger Fruit’s more melodic tracks, such as “Servants” and “You Ain’t Coming Back,” a welcome addition that was seemingly left behind in Devil is Fine. It is the introduction of those influences that allow us to see how flimsy those imaginary genre walls we all construct truly are.

Lyrically, Stranger Fruit takes some deep, darker turns that really allow for contemplation on the greater narrative of our society, both on the individual and communal level. Only Gagneux can make eventual enslavement and death sound not only romantic but almost appealing, as he does on the aforementioned “You Ain’t Coming Back.” It can be supposed that, since no one gets out of life alive, we might as well enjoy the journey in all of its glory! And “Row Row” starts out sounding upbeat and happy before the Gagneux, as the true captain of his ship, turns the listener into a completely unexpected 180, taking that darker turn that he is known for. What a ride.

This album is definitely an illustration of the push and pull between emotions, and Gagneux has us all by the ears, not letting us sit with one emotion too long before sending us into a tailspin. And it’s brilliantly done. On the whole, Stranger Fruit highlights not only problems with societies of the past, but also shines a light on the turmoil of today. It’s nearly impossible to pinpoint which time period each track can relate to, which allows for open interpretation and a greater enjoyment of Stranger Fruit in its totality.

The flow does not end with the vocals, as instrumentally, Gagneux has surrounded himself by talent that allows his work to be at the forefront. The accompanying drummer, in particular, does an excellent job at neither overplaying nor underplaying. Suiting the music and letting each part shine, he does what every great drummer should strive to do: be the perfect addition to a track without being the focus. The same can be said for the instrumental parts in general. Gagneux definitely did right by his own work with all parts of this album.

This album is one that keeps the listener on their toes, with an emphasis on pain and suffering that is both relatable and totally out-of-reach to many. For some, Zeal & Ardor would be considered a good introduction to the black metal genre. However, black metal purists most likely hate Zeal & Ardor. Gagneux definitely draws lines of influence from other genres, making it hard not to appreciate at least something Zeal & Ardor offers. Who would have guessed that spiritual black metal would be a thing? It’s more than a thing; it’s something we didn’t know we needed in the world until it showed us how necessary it really is. And it is SO necessary.

It’s hard to review, in words, an album that is just so good that it defies explanation. Every track, from the haunting and foreboding “Intro” to the final, pulsing conclusion in “Built on Ashes” is powerful on its own. This makes Stranger Fruit less of a narrative that tells a complete story and more of a collective body of work that stands alone in its completion. That said, there is still a narrative present underneath, and Gagneux weaves it in so cleverly and slyly that it takes one or two listens to completely grasp it’s even happening. That’s the sign of genius that is lacking in many artistic arenas today. It’s hard to pick a favorite track, as every time the next song started, the previous favorite was cast aside. Honestly, just pick it up for yourself when it drops Friday, June 8, 2018, and experience it. Because that’s exactly what Stranger Fruit is: an experience.

Five skulls, NO question.

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Review by Devon Anderson and Joe Koza

Tags: album review