Underground Sounds: Wayfarer – World’s Blood

Label: Profound Lore
Band: Wayfarer
Origin: United States

It’s hard to not draw parallels between Wayfarer and Panopticon because both embody atmospheric black metal that relies on the folklore of the United States. If the second embodies the northern wilds, than Wayfarer takes the west as their home and inspiration for their latest record ‘World’s Blood’, their third full-length release.

Featuring members of Cobalt, (ex-) Kitezh, Blood Incantation and Centimani, there’s a definite amount of experience in the formation. In a way, the band has captured the soundtrack to Cormac McCarthy’s ‘Blood Meridian’. Their use of dusty, sun-beaten soundscapes and long, meandering passages evokes the image of a frontier land, a lawless place where blood and gold are equally abundant. That alone makes this the music of its own mythology.
The way the album opens would almost suggest a stoner record, but then galloping pace hits full speed and you know this is something else. Yet, even the slow, atmospheric parts of ‘Animal Crown’ hold that mirage-like quality in the way the sound just shimmers into a whole. It takes the edge of the blistering tremolo riffs and feisty drum work in other parts of the song. Vocals are roared, in a bellowing, desolate form. This works just as well with the doomy ‘On Horseback They Carried Thunder’, which carries its own distinct mood of darkening skies in the desert. Barren, yet full of venom and threat.
That feeling of desolation is best conveyed on ‘The Crows Ahead The Warcry’. A slow, trudging track in parts, but when that melody line picks up its pace, you want to gaze at the sky, raise your arms and scream defiance. What a majestic showing, yet sticking right in that atmosphere with at thick nod to the might of the Nordic black metal gods. The sound shifts to something more ethereal and dreamy on ‘The Dreaming Plane’, which I suppose the title already gives away.
Yet the true brilliance of Wayfarer radiates on ‘A Nation of Immigrants’, with its acoustic play, distant, murmured vocals and folky string-picking. The thudding drums set that western vibe as well, taking you right to that frontline, where life is hard and rough. That’s the story Wayfarer tells us, which they do with a particular shine!

Met vriendelijke groet, Kind regards,
Guido Segers
Copywriter

Guido@gi.nl
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Underground Sounds: Yob – Our Raw Heart

Label: Relapse
Band: Yob
Origin: USA

Listening to Yob has given many people a special experience and the wait for a new album was long. The trio from Oregon has a solid string of releases in the noughties, had a hick-up before their ‘Clearing the Path to Ascend’ masterpiece in 2014 and after that things dried up for a bit.

Of course, there are always many reasons for a drought in releases, but in this case, the health of singer Mike Scheidt definitely played a part. At least, judging by interviews like this one. We are lucky that one of the most beloved bands in the doom genre has now returned with a fine slab of doom to sink your teeth into. This is ‘Our Raw Heart’, probably to be heard at Roadburn soon again.

Yob doesn’t use cold or eerie sounds, but massive riffing that claws to the heavens in a struggle of despair and grief it seems. Yet these always feel veiled and just the turmoil under the surface. The vocals are capturing an instantly take you into the mind-swirl that is ‘Our Raw Heart’. The music often relies on the heavy pummeling, though never chooses to be sharp and directly expressive. There’s a pensive nature to the music that is undeniable, with that transcendental, meditative quality to it.  An album that sets you to thinking and reflecting.

The absolute highlight is the gentle ‘Beauty in Falling Leaves’, where it’s for large parts just guitar and the wavering vocals of Scheidt. Even when the song swells to its full, climactic sound, it remains an easy flow, with a warm and calming sound. The gruff vocals carry with them a passion that is undeniable. The almost 17-minute epic is a testament to the singular genius, that is Yob. Of course, afterwards some more heavy pummeling is delivered with ‘Original Face’, which relies on the heavy drumming and bass, while the vocals sound more like Amebix‘ Rob Miller. Yet, something in the sound harks to the calm and soothing nature of Earth. Particularly, there at the very end with the title track and it’s languid riffing. Mountainous, rugged but completely flattened out and easy to traverse. A record that meets all expectations, with a final ascending into the clouds, leaving us mortals wondering what it is we’re doing.

 

 

Underground Sounds: Runeshard – Dreaming Spire

Label: Independent
Band: Runeshard
Origin: Hungary

Do you like your dragons? And your dungeons? Or are you a big fan of Rhapsody and their type? Then you probably want to give Runeshard a spin. This Hungarian group plays dreamy metal, with a bit of power and some symphonic black to make up a grand sound on this all too brief EP.

The project is a solo endeavor by Bálint Kemény, who has also been active in bands like Numénor, Astor, and Niburta. Playing the guitars and keys, he sets you up for something grandiose and boisterous that reminds me mildly of Bal-Sagoth.

It’s that layered sound, the density of the riffs and the interplay between the vocals and booming spoken word that make that link most tangible on ‘Dreaming Spire’. The vocals are actually offered by Alethiuz, who offers both gruff sounds and narrations. The bombastic sound never ceases to rise during the tunes and only intermittent parts of fantasy music break the tension.

That path is followed forward on ‘Crimson Gates’, which has lyrics that see the hero pronounce his determined position and posture. Notable in the key passages is that here and there they receive a slick guitar solo companionship, giving them even more dynamic effect. The epic, jagged pace on ‘Atlantean Sword’ makes me think of bands like Turisas too, as we already reach the end of this brief taste of magic, offered by Runeshard.

Underground Sounds: Vėlių Namai – Kúrir

Label: Self-released
Artist: Vėlių Namai
Origin: Lithuania

I’ve shared music by Vėlių Namai before, for the reason that it is exceptionally beautiful, harrowing and evocative at the same time. This time Julius Mité is delving in a different piece of earth, namely that of Kurland or Kurzeme. Though parts of this are lost in history, this is believed to be the realm in the west of modern-day Latvia, currently also called by the same name, and western Lithuania.

With ‘Kúrir’, a sound is being delved into. Moving away from the ambient vibes of previous records, this feels much more like entering the catacombs of history with more synth-based sounds, stronger beats and a different level of intensity and forcefulness, but that’s never a bad thing, is it?

Instantly, you recognize the almost dungeon synth-y vibe to the sound. Though not falling into the dusty tomb cliché, we do experience that claustrophobic experience on ‘Sussrúmnir’. It swells up at some point with a clearly traditional element, which is a persistent thing in the music of  Vėlių Namai. This is different though, it takes you really to a human place in history with the deep drones and easy passage of the sounds.

This record feels more like story telling as well, it really takes you through somewhere, instead of letting you simmer in a mystical atmosphere. On both fronts Vėlių Namai performs great, but for me tracks like ‘1042’ and ‘Sventovit’ speak to the innovation in a more concrete way. Granted, I’ve been to Lithuania and Latvia and have seen these lands and meditated on their past and for that, this recor is the perfect soundtrack in all its warm, overwhelming glory.

 

Ifernach: Mi’kmaq heritage and black metal

Black metal is rapidly becoming a kaleidoscope of styles and themes, which is not necessarily a bad thing. Gone are the days of strict confines in the music, but at the same time… something goes missing. Luckily in the strange corners of the world, we find bands like Ifernach, who bring the danger and violence back to the genre with a distinct voice.

Ifernach is a one-man project by Finian Patraic, who has a heritage in the native Micmac people and the Irish immigrants. His identity is much intertwined with the project. Ifernach uses French, an expression of the regional identity of Quebec, which metal scene is close to Patraic’s heart. His native language is English and he hails from the city of Chandler on the east coast of Canada. Ifernach has released the latest EP ‘Gaqtaqaiaq’ this year.

Finian Patraic was kind enough to answer some questions about black metal, his roots, the need to protect what is left of his heritage and his way of life.

Ifernach: Roots, bloody roots

Can you start by telling a bit about yourself, your roots and how you started Ifernach? (and when, because that appears to be a mystery). Also, have you been active in other bands?

Ifernach started as my life turned into something really dark.

I was in terrible sadness, madness. I am an active musician, done 9 years of classical music, I play all kinds, but I kept black metal away for all these years because I just wasn’t ready for it. I think black metal was the only option left this time, my punk riffs turned darker, so did the lyrics, so did my opinion of life in general. When you go into black metal, it’s a journey, and maybe there is no way out. It’s hard to explain, but I found peace in this whole darkness, a quiet place where I can dwell and suffer in peace. I won’t mention any of the bands I’ve been into because there is simply no links with what I do today. I record music every day. Someone said Ifernach would release a lot of EP’S because there is only one person behind the project, I guess it’s true. Like I said, I wake up in anger and fury every morning… the day that I will be a happy person that says life is beautiful, my project and journey would probably be over. Anger is what fuels Ifernach.

What bands influenced you musically and how did you end up moving into this particular type of music with extreme sound and, often, extreme thoughts and ideas?

No shame to say Burzum and Darkthrone. Everyone says that, but I think it’s the way we experience their music that changes from people to other people. And also at what time we discovered the genre, what we felt, what we were going through at the time. I will remember that day forever. Putting the needle on Darkthrone’s Transilvanian Hunger was, to me, a tempting invitation to the depths of Transylvania, or Norway… A wild call, and mostly something really really terrifying. Going into Burzum first albums was also a turning point, I don’t want to compare to punk here, but the horrific quality of the audio was inspiring me a lot, just like the punk days at school. That was way before I got into NSBM. No way I’m going to explain that, but this is devil’s music. The more evil it gets, better I like. For me it’s revenge on society, like on Halloween the dead rise back up. Always been a Samhain / Misfits / Danzig fan by the way. It’s crazy that people can love watching murders and torture on the screen and being such dedicated horror fans, but then automatically calls someone out when listening to NSBM or ”racist bands”. If you like murder, if you like guts and blood, you just can’t apply to any ethics code or human-wise shit. ALL MURDER, ALL GUTS, ALL FUNNNN.

Your music deals with very particular topics, related to your own origin. What made you choose this path and black metal as the vehicle for its expression (you may have already answered this above) and can you tell me more about the culture and expression you are sharing in your music?

Norway made me connect with the forest here. Simple as that. Black metal music is forest worshipping, so from time to time I got back into the forest I grew up, and started understanding more the whispers I heard from when I was young. I live on the land where my ancestors (from my mother side) lived and traded with the Europeans. There is a lot of mysteries and untold stories about the natives, and my project speaks about that. I try not to unleash the truth about the culture, but in exposing the dark side of it (wild hunt, torture cults, fire dancing, scalp collecting, to mention a few). I would say I do not speak for the natives. I am a lone wolf. But Ifernach is definitely a native Miq’maw inspired black metal band.

I am fascinated by the way you wear the corpse paint. Can you tell me about its significance? Also, I think I saw pictures with the more traditional form of corpse paint. Did it take much time for you to shape the visual identity that now is Ifernach and how did that process go? What symbols and meanings are people witnessing?

The one I was wearing at the Messe des Morts is a facepaint used for war by the natives more located in the south (USA).

My ancestors were proud warriors but I found no trace to this day of their face looking. They were wearing animal shapes on their bodies, and clothes. Animals were very important to their lives.

Ifernach needs to expose a violent image, you saw it with the knife and moose blood. Sick and tired of victimizing the culture. I was raised in hunting and I will practice the tradition from father to son. These things need to be shown on stage. Passamaquoddy used to wear swastikas on their clothes, don’t be surprised if I’ll wear some one day. Antifa is already crying. Sick of the people bashing our roots, culture, and runes. Ignorant fools raised up by the system!

Separately, I want to ask you about the knife, an item that seems to recur in aesthetic images like the absolutely stunning header image on your Facebook page, to the live shows and photo’s where you wield it, while covered in blood. Can you tell me about that and its meaning?

Just did it. Maybe next time with a gun. Who knows. Too much safe place in metal these days. I hate to play live because of that. Censorship.

Your latest record is Gaqtaqaiaq, which came out on Nekrart Records. Can you tell how this record was conceived and what the theme of this particular release is? I’m also curious how you go about the recording, do you do everything yourself and on what fronts is that most challenging or satisfying?

I record in the most terrible and annoying way possible. Nothing is wireless, cables are all jammed up together, I can barely move my head when I record the drums because I’m losing signal with the headphones. I record drum first, without any ghost track guitars. Crappy computer, one microphone. Cheap ass guitar amp. I play with the EQ’s, volumes, and that’s it. The way native American black metal should be done. Wild, raw and rude. Gaqtaqaiaq is a native word for End of the trail, journey. I wanted to expose the first contact between Native Americans and Irish men that came from the sea, sometimes dying at the end of the sea road. And for the ones who survived, witness a journey inside the mysterious northern woodlands of Gespeg. Fires at night, war cries and drum beatings. A soundtrack for my land, for what happened years and years ago. I sat there on the seashore and been thinking about it. A lot of Irishmen died on the coast, with sinking ships, not to mention the coffin ships. Musically, I couldn’t get a better result in being alone. Looking back at it now, I hate creating something with others, can’t stand it.

Listening to the record musically, I am fascinated by two elements. The first is the ever-present punk vibe in the music, the other is the sound of the guitar. I want to ask you if the first is a correct conclusion and how you created the second.

Right. Always been a punk fan. But not the peace-activist genre. You know the street punk with no future genre. Discharge, Exploited, stuff like that. Real punk. Don’t fucking tell me Sid had something to do with veganism and politics. Fuck ’em all. I love Carpathian Forest because of that, they got that same pissed off mentality like we’re gonna kill everyone and piss on their bodies, whether you care or not. ‘Laments of Eriu’ had a pretty raw guitar sound, when you look on Gaqtaqaiaq, it has a more atmospheric vibe with some delay. 4 guitar tracks playing all different paths and sometimes an old piano, that’s how I manage to do it.

I’m curious about your choice for the French language, as I understand it is not your mother tongue. Being a speaker of multiple languages myself, I can see how one may be more fitting for what you desire to express, but I’d like to ask you about this.

I been into a lot of Forteresse and Monarque records, two important acts in the Metal Noir Quebecois genre. Also, we all know native Micmacs fought the English alongside with the Canadiens-Français. It was some sort of dedication to the French language, and also that, as an English-born person, I am proud to speak a good French language, in the province, I grew up. Finally, I have to say it’s a little protest against all the Micmac books all written in English. The reds destroyed everything here, on my land and all around, their language even got into our culture and legends… It’s a shame.

You’ve described your style as savage black metal. Where would you say the savage element is and what does it embody to you, as in how would you describe that element of your music?

I try to express what I hear and what I feel when going into these familiar woods within my music, I want the people to hear the wild call I’ve heard. Transcend the voices into the music. I don’t know. These forests are filled with old legends, sometimes still marked with the signs of the past. Savage also because I want to expose more ”savage” themes with the music, like mention before (hunting, war rituals…) you know things that are not into books at school, some Anti-evolution practices. Against the modern world. I go outside in winter at -40 with some cheap ass fucking boots that I bought on the internet when I can go outside, kill a beaver, and make me the greatest boots I ever had of my life. This is how I would describe it. Even if we live in 2018, my main goal is still to learn how my elders used to survive on the land. There are so many techniques and tools that are lost in time… For example, I saw an old Innu tradition, that was literally to put blueberry paste into a tree bark cone, with teeth-written imagery on it, to survive the cold winters. How crazy is that? It was more important to learn chemical formulas or maths at school. Fuck that shit. Don’t think savages are fools, because they can’t do math, it’s because they are happy without numbering what they have.

When I asked you if you were willing to answer these questions, you made a point of not wanting to be associated with Antifa. Can you elaborate on that?

Fuck the code. Fuck censorship.

My ancestors died because of an immigrant invasion.

In the Antifa codebook, I am a total nazi for stating these… facts.

Graveland got canceled in Montreal because of Antifa, and the famous sign shown in the news saying: Heil Satan, Not Hitler.

These kinds of things remind me why my culture has been erased from its own land.

Well, to be honest, basically it’s free hate for everyone…
– about black metal and politics.

There’s a thin line between proud of one’s roots and hatred for the other. How do you look at this, in the light of your earlier mentioning of NSBM?

Well, to be honest, basically it’s free hate for everyone. It’s how I see it. It’s also a political thing but you know, in life I’d rather be the wolf, the lion, not a sheep following the others blindly… In my culture, the natives were strong people, fast hunters, we kinda lost our path. My hate comes from there, now we’re just rejects from the system, looking good buying things and feeding this whole monster that mixes everybody into the same mold; working, paying. I never said my color was better than another one. But my color has vanished (the red skins). People these days are putting tags everywhere like you say something, automatically you’re this, you’re that. Like just because I fight for the nativity of my land, automatically I am against black people. I truly believe that with the school system, social mentality and internet going on with their stupid trends, all hope is lost for native culture revival, so why let all these newcomers in? Back then we had tribes, separated by the habits of life and the ways to survive in our own environment. I believe in war, I believe in adversity, I believe in fighting, I believe in violence. Go take a walk into those woods you’ll find out. Life on earth, we changed everything, but it all comes up to one thing; survival.

Perhaps on a related note, what do you think that the role is for black metal in the world of today? Is it still a voice of rebellion and if so, what does it rebel against?

I think the problem is bands that are saying don’t do this, don’t do that, don’t support this, people will follow you blindly. Black metal is total war. No code, no rules. I think it is still a voice for rebellion (if you look at Kiev and their awesome festival) , and surely something more than just canceled shows by Antifa. In the end, some of them are musicians earning money, and I’m okay with that. But I hope it will always be the voice of evil, no matter what evil is (and I’m not talking about black metal coffee). Black metal went mainstream with Varg and Euronymous. I saw a rapper talking about Euronymous.. wow. Internet world today also, very hard to come out with something real and authentic.

What future plans do you have for Ifernach?

I have one show in the record, maybe one next in the winter of 2019. I am alone here, the guys who played with me at the Messe des Morts are very far from me (8 to 12 hours drive). It’s very hard to play a show live. I keep recording and reading. And learning the native language. Ankami, Wije’wi. Kiwaja’lin, We’kwata’si… I have a surprise release for Halloween eve. A tribute to horror, something a little off-series for Ifernach.

If you had to compare Ifernach to a dish, what would it be and why?

Raw meat. bloody flesh. The way my elders loved it. The way I am trying to enjoy it. Hahaha…

Disclaimer: The opinions voiced in this article are those of the artist. In no way am I endorsing these ideas as they are not my own. As we live in a time of turmoil, I feel that trying to understand others is a lost art at times and I hope this provides the reader with insights.