Hailing from Paris' Ile de France, this French Stoner/ Sludge act was formed following the completely fortuitous encounter of four Metal fans in late 2003.
Although with rather different backgrounds (Punk/ Hardcore, Chicago Blues, Grunge and Death Metal) as far as musical preferences are concerned, J.C. Hoogendoorn (vocals and mouth harmonica), Romaric Méoule (guitar), Sébastien Mayzie (bass) and the then still under-age Aurélien Renoncourt (drums) [P.S.: the first two are since known to also play in the band 6-Cylinder, and the latter has taken a second job in the band The Ekpyrosis] immediately understood that they had a common goal and vision in their music: pursuit of sincerity, a will to innovate, and the visceral need to have their accumulated frustration explode onto stage. The self-taught quartet already floundered around the region's sound engineering schools, and released their first self-titled 3-track demo that same year, before hitting the Parisian squats and underground venues. Slowly but certainly, they not only made a name for themselves, but also chrystalized their sound, each individually getting better at using his chosen instrument. Following the release of their 2006 six-track demo Six Four Six, Red Mourning (named after the colour of mourning used by the Mississippi slaves of old) and increased live activity (including quite a few in Belgium, and an appearance at France's Hellfest), the band finally saw their opportunity to record a full-length's worth of material with renowned French Metal producer Francis Caste (whom had already worked with the likes of Zuul FX, The Arrs and Svart Crown, among others), in the process of which the band got signed to Bad Reputation Records, whom released the band's debut album Time To Go on April 30, 2008. the label went on to also release the band's sophomore album Pregnant With Promises (Jan. 2011) and with Where Stone And Water Meet, they just released the third one.
Now here's a funny thing: the promo talk the label used on that first album could, on the premise of keeping out detailed info about individual songs, very well be re-used for the band's last album. Let's try, shall we? I'll pick up after the part where the band had recorded their two demos, then? Okay...”Bit by bit, the band's personality is affirmed, and what at the beginning was no more than four strong personalities grows together like a well-oiled war machine. Each of the members brings in his own personal influences : Punk-Hardcore, Chicago Blues, Grunge, old & new school Death Metal...and the result is a unique hybrid in its genre and the Metal scene of today. Just to name the most obvious, how man bands use blast beats, harmonica Blues, Sludge and harmony vocals in their music?... It's by not being satisfied by the obvious, and from a pure devotion to their music, that Red Mourning always pushes its own boundaries. The album Time To Go was but the logical progression of that work ethic... The songs themselves are a combination of violence and groove, the accidental atmospheric passages serving only to emphasize the band's harshness. The song structures flow into each other, but can be quite different, from near-chaotic to simple and direct, passing by progressive constructions and methodical destruction... With increased listening sessions, one discerns a vast instrumental construction: the first layer, the rhythmic one, is technical without being pretentious; crusted within are aggressive riffs which flirt constantly with dissonance; then comes the voice...or rather the voices, because the Hardcore saturation alternates with melodic singing, usually harmonized two, three and even four times. The whole is completed with some incisive guitar and harmonica solos...”! Well, those are elements we come across in the new album too! I have to say however, that the lead singer's “clean” voice is not without a charming hoarse warmth. The only thing nót done in this album, which the band did in their debut album's song “Child Of the Storm”, was to use a honky-tonk piano in one of their songs. Otherwize, the slavery themes are enhanced by a wacky intro and the short interlude “Work Song”.
Weirdly enough, I have found no material off the new album at either the band's (www.) redmourning.fr or (www.) facebook.com/RedMourning (only older material available), but then on their own label the “music” section connects to a SoundCloud player which I was unable with the out-of-date network PC I use for my research...so check things out for yourselves, will you? Meanwhile, I'm adding a new album to my 'Best Albums Of 2014' lists! Darn...these guys are góód!!!