Heaven Grey, which last year released a new album called Falling Mist, describes itself as a “doom gothic metal” band. That usually means aggressive guitars and drums are joined with keyboards and deep, often growled, vocals. The group compares itself to such venerable ensembles as Paradise Lost and My Dying Bride.

Though it has a very active metal scene, with a large number of bands and a surplus of talented musicians, Latvia has not had many heavy metal ensembles make much of a splash abroad, apart from pagan metal group Skyforger. Perhaps this is because a lot of the Latvian heavy metal music I have heard has either been somewhat generic and unoriginal, or so very aggressive and harsh that it becomes difficult to listen to.

Although I was not very familiar with Heaven Grey, what I had heard was very positive. I figured I would give Falling Mist a chance in the hope of hearing something that neither bored me nor assaulted my ears in a negative way.

The songs are also usually characterized by lyrics that are anything but positive. The group, founded in 1993, has been plying its trade for nearly two decades. Falling Mist is the third album by the band, which released Northwind in 1998 and Memory River in 1996. Heaven Grey has gone through a number of lineup changes, partly due to tragedy: guitarist Sigvard Balzhevich died in 2004 and original lead vocalist Ansis Melderis died in a motorcycle accident in 2005.

The lineup for this album includes Ervins (Verons) Francs on vocals, guitarists Vyacheslav Nikitin and Vladimir “Dr. Alien” Beluga, Andrey Rivars on bass, Olga Klubova on keyboards and Oleg Badulin playing the drums. Other featured musicians are the band’s former drummer Ervīns Ozoliņš, as well as Reinis Melbārdis, who recorded a number of cello lines.

Falling Mist, with songs in both English and Latvian, turns out to be a thoroughly enjoyable album, full of adept musicianship and crafty song writing. I think what I like the most is that this record has engaging melodies and music, which cannot be said about much of Latvian heavy metal music that often times seems to only aspire to play as fast and aggressively as possible.

The album begins to distinguish itself in the opening moments of the first song, “The Way Back is Gone,” with its melodic keyboard and cello duet, which is joined by drums and electric guitar. The group’s attention to melody comes across very strongly in this song, particularly in the guitar lines, as well as setting the tone for the entire album with lyrics like “I am cursed! I am cursed!”

A more aggressive sound is heard in the song “Zudusī dzīvība,” with some particularly intricate drumwork by Badulin. Perhaps inspired by the operatic female vocals of a group like Nightwish, the song “Life” features Eugenia Petrova on soaring vocals, but also has Francs singing in a more “normal” voice (which I actually think he should do a bit more often, since the growled vocals sometimes don’t quite fit in with the often clearer sounds of the instruments). One song is presented in both English (“It’s Time”) and Latvian (“Drīz”).

Possibly my favorite track on the album is “Upe,” which best represents Heaven Grey: the engaging melody of the guitar, the pained vocals, and the overall epic, almost symphonic, sound of the song. Because the lyrics are in a native language (Latvian), they are far more engaging than some of the English lyrics presented on the record.

The album also sounds great—instruments and vocals are distinct. Poor production is just about the most common criticism I could make about Latvian metal albums.

Certainly, the bulk of the songs are a bit on the depressing side, and vocalist Francs sounds like a soul in torment for most of the record. However, with engaging melodies, musical variety, and engrossing songs, Falling Mist is by far one of the best and most consistently satisfying Latvian metal albums that I have heard, and made for very enjoyable, if gloomy, listening.

Mezzo-soprano Antra Bigača, along with distinguished and award-winning pianist Ventis Zilberts, last year recorded the album Laikam pāri… Latviešu vokālā kamermūzika 1950-2000. The compact disc is an overview of Latvian classical vocal chamber music on a decade-by-decade basis, with a cycle of works from each period.

Bigača has a unique voice. She has been a soloist at the Latvian National Opera since 1989, with more than 30 opera roles in her repertoire, and has performed many major works both in Latvia and worldwide. She also has won the Latvian Great Music Award in 1995 and the Latvian Music Award in 2008.

Though a mezzo-soprano, Bigača’s voice has a fullness and richness one might associate more with the alto voice. The works on the CD feature both ends of the spectrum, with the soaring heights of a traditional soprano and the deeper tones one might hear with an alto singer. This is one of many reasons why Bigača is one of the most noteworthy of Latvian singers. Bigača’s repertoire also includes one of the best known of mezzo-soprano roles: Bizet’s Carmen.

The 1950s are represented by composer Marģeris Zariņš with his vocal cycle “Sudrabota gaisma” (1952), with lyrics by Latvian poet Rainis. This nine-work cycle features some of Rainis’ most romantic words, with Bigača bringing both a tenderness and strength to these texts.

Composer Jānis Mediņš represents the 1960s, with his five-song cycle “Dziesmas” (1965) with texts by well-known Latvian poet Mirdza Ķempe. Here Zilberts provides a lyrical and nuanced piano performance that along with Bigača’s expressive singing provides for some memorable performances, particularly on the song “Mīlestības krāšnais koks.”

A unique Latvian composer is Pēteris Plakidis, who combines styles from multiple eras and adds a touch of humor to create a style that is individually his. This is displayed in the cycle “Trīs dziesmas ar Ojāra Vācieša dzeju” from 1979. Poet Ojārs Vācietis is one of the most beloved of Latvian poets, so composing satisfying music for his works is no easy task. The intentional clash of influencing styles of Plakidis can be heard in the brief song “Sadzīs vējis pēdas tev…,” with its vocal leaps and rather dramatic stylistic changes.

Arturs Maskats is considered by some to be one of the “Neo-Romantic” Latvian composers—a style tendency that is associated with emotional expressiveness. This is observed in the beautiful melodies of his vocal cycle “Romantisks triptihs” from 1989 with the poetry of Veronika Strēlerte. Moving from the lyrical “Sāpju pavasaris” to the almost funeral march-like “Pieta,” Bigača provides the necessary pathos to bring forth the emotion expressed in both the music and the texts.

The CD is rounded out by the vocal cycle “Three Songs Based on Poems by Emily Dickinson,” composed by Dace Aperāne in 1994. The cycle, in fact, is dedicated to Bigača. The tender piano music provides a beautiful landscape for the stirring singing of Bigača, particularly the poem “Wild Nights!,” an especially passionate poem of Dickinson’s.

The accompanying booklet features biographies of Bigača and Zilberts in both Latvian and English, as well as brief commentaries by Bigača on each of the works.

The CD is a particularly satisfying listen, with Bigača reaffirming her place as one of the most vivid interpreters of Latvian music, ably assisted by the talented pianist Zilberts. Not only does one hear the talents of the musicians themselves, but this collection features some of the most significant Latvian composers, not to mention memorable lyrics by a number of Latvia’s most important poets. Overall, this is a valuable collection and one of the best Latvian vocal chamber music CDs available today.