As unlikely as it seems at first, I’ve often seen comparisons drawn between classical music and metal. The technicality, quiet precision, bombast and raw emotion found in the works of composers like Beethoven, Mozart and Wagner has a definite modern parallel in metal, ironically far more than in modern classical, which is far more focused on breaking the traditional rules of that genre rather than transmuting or advancing them. It’s little wonder, then, that quite a bit of metal has picked up classical influences and instruments and incorporated them. Quietus plays a brand of heavily doomy gothic metal so full of classical instrumentation it’s sometimes hard to tell if they’re a metal band with violins or a classical ensemble with electric guitars and a drum kit.

Quietus’s biggest asset is the fact that all of their classical instrumentation is the genuine article; rather than using a synthesizer to produce something which approximates the strains of a violin, which all too many gothic bands are wont to do, Genocide: Tragedy In Red is imbued with the much deeper and richer sounds of physical instruments. A violin is featured the heaviest, as can only be expected, but it’s utilized in some extremely surprising ways. Instead of only using it to carry the melody of songs, it’s given its own spotlight, with solos in sprawling, epic tracks like …Draped In Our Tears that wouldn’t be out of place in the middle of a concerto. The result, to use a word that one doesn’t ever expect to see in a discussion about metal, is heartwrenching.

However, there are moments that are pure metal, usually coming hot on the heels of the heavily classical moments in the selfsame songs. The technicality of the guitar is brought out in …Draped In Our Tears as well, and shorter tracks like Tainted By Ill Fate fall far closer in the spectrum to the more standard gothic metal played by bands like Draconian. In these instances, the classical content is scaled back to that synthesized violin following and supporting the melody, but since it’s far more of a background element, it ends up blending rather than clashing with the acoustic violin. The fuzziness of the production helps with this, muting the edges of the varying instruments so they present a more cohesive whole. The extent of this effect is realized in The Outer Steppes, when a harpsichord sounds perfectly natural in among the heavy riffs. The vocals are a soft-edged, midrange growl that fits the music perfectly, like the fuzzy growl of the guitars given human voice. Some short, spoken-word passages pop up in a couple places as accents, but for the most part, Quietus is an instrumental band, skewing the balance even farther into the classical range.

Genocide: Tragedy In Red has, as they say, a niche appeal. Obviously, there’s no thrashing ‘til death here, but something contemplative and surprising in ways that would appeal to metalheads and classical musicians alike. Quietus’s focus is musical exploration, pushing both genres into new territory. It is ultimately very rewarding to those with the patience and inclination to venture onto this road less traveled.