Welcome my fellow black metalheads, Sean here at the Black Metal Archives, and today we’re scaling the spectral heights of France’s Tour d’Ivoire with their debut self-titled release, Tour d’Ivoire. Dropped on September 6, 2024, via Antiq Records, this atmospheric black metal project—birthed in early 2023 by Hyver (Véhémence, Grylle, Hanternoz) and La Griesche (Grylle, Cercle du Chêne), with Erroiak on bass—is a misty, hypnotic plunge into dreamlike desolation. Clocking in at five tracks and roughly 35 minutes, Tour d’Ivoire conjures a twilight fog of hypnotic riffs, spectral synths, and fatalistic French lyrics, all wrapped in a soundscape as enigmatic as its ivory tower namesake. Let’s step inside.
The album opens with “La Tour,” a monolith track that immediately plants Tour d’Ivoire’s flag in atmospheric black metal territory. Hyver’s guitars churn out a repetitive, trance-inducing riff—think Dissection’s melodic edge meets Wolves in the Throne Room’s forested sprawl—while La Griesche’s harsh, reverb-drenched vocals claw through the haze. The track’s backbone is Erroiak’s bass, a subtle but steady pulse that grounds the ethereal layers of synth and distant choirs. Mixed and mastered by Akhlys, the production is crisp yet raw, letting the hypnotic repetition build a sense of gazing at some ancient, fog-shrouded spire. A late shift introduces angelic female vocals—reminiscent of early Agalloch—that add a haunting softness, making this a commanding opener that hooks you deep.
“Brouillard” follows, a piece that dials up the mystique. The guitars lean into a hypnotic, almost droning riff, layered with synth washes that evoke a spectral landscape—imagine wandering a frostbitten moor at dusk. La Griesche’s vocals shift between piercing shrieks and a lower, guttural snarl, while the drums (programmed by Hyver) deliver a steady blast-beat backbone with occasional cymbal crashes that cut through like shattering ice. It’s repetitive, sure, but that’s the point—the track’s trance-like quality pulls you into its fog, even if it doesn’t stray far from its starting line.
“Forteresse de Marbre,” this is the album’s centerpiece and a highlight. It starts with a slow, mournful guitar line before exploding into a cascade of riffs and blast beats. Hyver’s synth work here takes on a more melodic role, weaving through the aggression like a ghostly thread, while Erroiak’s bass rumbles with a newfound heft. La Griesche’s lyrics—penned with Hyver—dwell on fatalistic visions of mystical architecture, delivered with a venom that’s both commanding and weary. The track’s second half slows into an introspective drift, with synths and clean-toned choirs conjuring a cathedral-like grandeur. It’s Tour d’Ivoire at their most ambitious, balancing raw black metal fury with a cinematic sweep.
“Givre” closes the album, a frostbitten return to form. The guitars hammer out a repetitive, icy riff—sharp and metallic—while the synths stretch into a hypnotic drone that feels cosmic yet grounded. La Griesche’s vocals are at their most unhinged, layered with eerie choirs that amplify the track’s otherworldly vibe. The drums pound relentlessly, though the cymbals occasionally overpower the mix, a slight blemish on an otherwise immersive cut. It’s a fitting end, deepening the album’s descent into a strange, frost-clad dreamworld.
The digital version includes a promo cut of “La Tour,” but the core four tracks are where the meat lies. Tour d’Ivoire’s sound is built on Hyver’s guitars—twangy, melodic, and relentless—paired with synths that shift from ambient drones to leading melodies. Erroiak’s bass adds depth without stealing the spotlight, while La Griesche’s vocal range and the spectral choirs elevate the atmosphere. The production, while polished for an atmospheric black metal release, retains a raw edge that keeps it authentic.
In the black metal genre, Tour d’Ivoire sit comfortably among the atmospheric elite—think early Alcest or Saor, but with a sharper, more traditional bite. Their French roots shine through, aligning them with acts like Peste Noire or Sühnopfer, though they lean less on folk and more on a mystical, almost dungeon-synth-adjacent vibe. They’re not rewriting the script—repetition is both their strength and Achilles’ heel—but they wield it with purpose, crafting an album that’s immersive and evocative, if not always groundbreaking. The synths and choirs flirt with symphonic territory, yet the raw riffs and vocals keep it tethered to black metal’s grim heart.
Tour d’Ivoire is a confident stride into the genre’s misty fringes. It’s a slow burn that rewards patience, a spectral trip through forgotten realms that’s as chilling as it is captivating. If you’re into atmospheric black metal with a knack for the hypnotic, this one’s worth climbing the tower for, and you can stream it now over on Bandcamp!
