Oryad: Sacred & Profane

Formed in 2018, Oryad is a four-piece based in Denver, Colorado with ties to East Tennessee. Their name is derived from the Oreads of classical Greek mythology. These mountain nymphs are commonly associated with Artemis [Greek] / Diana [Roman] (goddess of the hunt, wilderness, etc.) of which Oryad takes much spiritual inspiration. Sacred & Profane is the follow up to their 2021 debut EP Hymns of Exile & Decay, and first full-length release.

Though a relatively new band, there is much formal education and experience involved here. Luca Grieman (guitar), Adam Sanders (bass�" however, does not perform on the album) and Matt Gotlin-Sheehan (drums) each have formal jazz backgrounds.

Moira Murphy (soprano vocals/keyboards) has earned multiple degrees in classical voice and has had a professional career including opera performance (which she still actively does) and teaching. Her operatic vocals are heavily rooted in the bel canto style (Italian for “beautiful singing� or “beautiful song�). The bel canto style has origins dating back to 18th century Italy (early composers to develop the style include Alessandro Scarlatti and Niccolò Piccinni). Traditionally, bel canto is viewed as the only appropriate style to be used for the performance of Italian opera and Mozart. It is characterized by legato phrasing, rolling vibrato and a delivery emphasis aimed to coincide with the emotion of the text. All of this is on full display here.

Initial comparisons might include Simone Simons (Epica), Tarja Turunen (ex-Nightwish) and hints of Celtic New Age artist Loreena McKennitt. She maintains great control throughout and has a rather sweet tone to her voice. Her highs are soaring yet graceful, and don’t stab the eardrums with a trident like some sopranos tend to do. However, she is not limited to just the bel canto style as she showcases a range of colours and styles including shades of pop, gospel, jazz and at times haunting and with a gothic flair.

Musically branded as Progressive-Doom-Opera, I would argue that’s a pretty apt description. Most of the songs are of a mid-tempo to slower pace, with occasional outbursts of speed. There is a very classical-forward approach that goes beyond just the obvious vocal delivery. Instrumentations and orchestrations, piano, melodic and harmonic progressions. Even the layout has an opera-esque vibe as each song seems to portray different emotions.

The progressive element isn’t portrayed in terms of whiplash tempo changes, mind-bending virtuosity or general eclecticism. Rather I find it to be progressive in the sense that there are many different styles woven in throughout�"and integrated in a manner where it all feels fluid and cohesive. The technical elements here mostly lie within the vocal talent and some of the drum work.

"The Path, Part I & II" are ethereal, haunting and have a mystical aura about them. Together they bookend the album and create a full-circle feel to it. "Scorched Earth" has a bit of an Epica vibe with more intense riffs and drumming. "Blood" begins with a Romantic-era sounding classical piano intro that then becomes brooding and twisting.

"Lilith" has a great build up to it and an overall powerful energy about it. The instrumentation is also noteworthy here as well. The violins have to me a baroque quality to them that adds a lot of depth, while being paired with ethnic/tribal percussion is a unique partnership that I think really works here. "Eve" has a few splashes that remind of Rush while otherwise being fairly heavy. "Alchemy" has a weird, almost cabaret type feel to it. While also including a straight up blues guitar solo.

"Wayfaring Stranger" kind of feels like the functioning ballad of the album that is more serene and somber. Some of the violin work here wouldn’t be out of place in Game of Thrones. "Through the Veil" features more prominent piano work. "Slice of Time" hits hard early and is the most up-tempo song on the album. An infectious, soaring chorus, some of the best drum work on the album.

My primary complaint is that many of the riffs are fairly basic and would be completely monotonous and boring on their own (something that is not uncommon with bands similar to this).

Overall, this is a different and very interesting approach to symphonic doom. As a fan of proper classical music myself, I personally enjoyed the more forward-classical approach. The vocal performance, nature and mythological based lyrical poetry, instrumentation and arrangements, send the listener on a full circle journey. Beyond the box!

Favorite Tracks:
Lilith, Slice of Time, Eve, Wayfaring Stranger, Path I & II

Lineup:
Moira Murphy (vocals: soprano; piano; synth; orchestration; lyrics; songwriting)
Luca Grieman (guitar; songwriting: tracks 2, 3, 5, 8, 9)
Adam Sanders (songwriting: tracks 5, 8, 9)
Matt Gotlin-Sheehan (drums; songwriting: tracks 2, 3, 5, 6, 9)

Guest/Session:
Nina Anto (violin; viola; cello) (tracks 1, 4, 7, 8, 10)
André Sobral (guitar: tracks 4, 7)
Natalie Rodriguez (guitar: track 6)
Vikram Shankar (bass guitar: all; guitar solo: track 6)

Additional Credits:
Tony Midi (artwork; illustrations)
Adrienne Aragon (photography)
Emily Winders (photography)
Toxoplasma Arts (layout)
Vikram Shankar (mixing, mastering)
Collin Ingram (recording)
Moira Murphy (recording)

Release Date: May 25, 2023
Label: Toxoplasma Records
Length: 45m 27s (10 tracks)

Track Listing:

1. The Path, Part I [2:39]
2. Scortched Earth [4:33] (1st single: 2/23/23)
3. Blood [5:21] (3rd single: 5/25/23)
4. Lilith [4:11]
5. Eve [6:29] (2nd single: 4/13/23)
6. Alchemy [5:03]
7. Wayfaring Stranger [3:35]
8. Through the Veil [4:04]
9. Slice of Time [6:30]
10. The Path, Part II [3:02]

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Added: June 3rd 2023
Reviewer: David Kern
Score:
Related Link: Band Website
Hits: 842
Language: english

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