I might be biased, but I have always believed that the cello has been given the short end of the stick. From chamber music to opera, the cello has always been relegated to keeping rhythm, to acting as the backbone while the violins, the violas, and, in some cases, the horns, winds, and brass get their own cool solos and intricate melodies. However, the cello has shown to thrive outside the classical world, having its own identity, sound, and distinction. It’s this sort of distinction that Jason Blake, alongside cellist Raphael Weinroth-Browne, explore on Blake’s newest EP, Candles Burn.

Candles Burn starts off with “Dredged Memories”, a six-minute track that starts with a moving guitar rhythm before the cello gains melody and traction. With the rhythm casually handled by the Warr guitar, the cello becomes the main focus, switching off between classical flourishes and riffing. While the guitar does match the sound of the cello, adding more strength and power behind its melody, the cello is the focus here. The intricate tones and sweeping vibratos highlight an emotional build-up, something that’s slowly swelling towards the surface. Past the halfway mark, that classical flourish is gone – the cello becomes more melodic, showcasing less restraint and becoming more forceful, before letting the guitar have its moment once more. It’s a strong opener, one that sets the pace and scene for the rest of the album.

Second track “Riff and Reckoning” stays true to its name – unlike the riffing in the first track, this one is more intentional, showcasing the cello’s full breadth and capacity while also remaining consistent in its tempo. This song, while having a moving melodic section – the main theme surrounding Candles Burn – also shows restraint. It’s carefully structured to accommodate the cello’s pacing, but it also doesn’t let itself become bloated with melody or highly emotional passages. There’s also vibrato embedded in the background of the main melody, adding tension. It peaks into feedback at the highest points of said tension, mirroring a flash of something before pulling itself back under the surface.

Finally, the third track, “Leaving Only Embers”, is the most intricate of the three songs, with the cello becoming the background. Here, Blake’s prowess with the guitar is seen, matching not only the cello’s speed, but also its emotional intensity. It also gives itself room to expand beyond its constraint, melding into a beautiful solo towards the end of the track that makes you want to nod your head to the beat. Then, it becomes more “rock” oriented, getting heavier and grittier the faster the tempo becomes. At its climax, this song culminates into a solid chamber-progressive rock fusion, ending on a pensive note that makes you want to relive what you just finished listening to. Granted, these are string instruments that have built off one another, but you cannot deny that there’s something cool about these acoustic instruments having the same power and presence as their electronic counterparts.

All in all, Candles Burn is an EP that gives listeners the opportunity to understand why there is room for classical music outside of the neoclassical metal genre. This is a beautiful, well-composed set of three songs that showcases the different intensities an acoustic instrument can have without an electronic connection. For someone who is always looking to how an instrument can be used outside of its main environment, having it be heard in this manner is exhilarating. After all, one has to reach outside of the usual fare in order to find solo cello and cello-focused pieces outside of the orchestra, and when you do, you hang on to them like a lifeline.

–Hera

---

Candles Burn is available April 5 on 7d Media. For more information on Jason Blake, visit his official Facebook and Instagram.