Label: Black Lion Records
Though it came out in 2016, ‘Hanter Savet’ is seeing a re-release which brought it to my attention and I felt it would be fine to cover it then. It’s the first full length for the band Vindland, who hails from Brittany, the coastal region in France with a dense history and distinct culture. Vindland embodies that.
The sound of the band must make some people think of another group from Sogndal, Norway and smile with a certain melancholy. A noteworthy fact is that all lyrics are in the native Celtic dialect of the region, which is carefully preserved and expresses the Breton identity. Members of the band are or have been active in the grand-sounding Belenos too, so they know how to spin a tale.
It’s a bit odd to hear a band sound so much like Windir did back in the day, but that’s exactly what the epic sound of Vindland promises with the big, majestic riffing. It’s soaring, heroism is catchy and warms the heart of a passionate fantasy-reader like myself. The keys and crisp production really help to emphasize that side of the band. Particularly on songs like ‘Serr-Nozz’ and ‘Treuzwelus’. The tight, battle-ready rhythms of songs like ‘Skleur Dallus’ do their part in turn.
It’s the melodies that really work their magic in the sound of Vindland. Those are the story tellers, that illuminate castle ruins and forgotten wisdom of the ancient Breton lands. Sometimes the downside of the keys and production is the lack of certain organic aspects to the music. Never is Vindland dull or insincere, but the fade in sometimes lacks the natural feel (like on ‘Skorneg Du’). On the other hand, the Breton language offers a whole different dimension and the rock’n’rolling sound definitely catches on easily.
As we move towards the end with ‘Kreud Ar Gwez’, we hear meandering, acoustic tones and the Atlantic winds. The beautiful shores, from where brave ships have sailed and where so much vital history took place. It tells its own story, while we still remember.
qqqØqqq is a project dedicated to silence. It’s a creation by Tomasso Busatto (Plasst) on synths, who also runs the Casetta label and Carlo Mantione (Contemplatio) on guitar and pedals. Their sound is a dedication to silence, to meditative calm and the serenity that can be found in there.
The duo hails from Italy and has a certain affiliation with murmur mori. Their music could be described as minimalist and meditative. Their record is out on Casetta, but also on E’ Un Brutto Posto Dove Vivere , Contemplatio, Dreamingorilla Records and Insonnia Lunare Records. This is the sound to immerse yourself in and simply drift away.
The music feels like triphop meets postrock, with plenty of audio samples. The sound has a certain flat flow to it, which just carries you along without ever deviating from its continuation. At times the sound swells to a more violent timbre, but never leaves the current where it is in. Particularly ‘All this Heaviness is just my monolithic self’ stands out by its intensity.
It’s peculiar how spacious the sound can be of qqqØqqq, because the sound at times feels so immense as if you are completely getting lost in it. Ethereal and earthy at the same time, the lazy beat and eerie soundscapes offer a profound expression. The titles appear to refer to states of mind, which are invoked by the sound. For example ‘Crumbling plains and burning stones of consciousness (Feat. H!U)’ has a certain forlorn sound to it. The slow beats crush anything that is still out there, untill only void remains.
This is how qqqØqqq completely blows you away with abstract sounds and immersive beauty. Classify this as ambient or drone, it doesn’t matter, it’s music for the mind.
Origin: United Kingdom
Blencathra is a hill in the north of England. A beautiful part of the country that immediately makes you think of the rich past the nation has. It’s also a band, that plays black metal with sole member Nicholas Fry in the lead. This is the first album, titled ‘These Bones Became The Roots of the Forest…’.
As an artist Fry, and therefore the sound of Blencathra is inspired by British bands like Fen, Winterfylleth, and Saor, which makes sense. The pictures he shares on Facebook show the landscapes that inspire a particular sound. Densely atmospheric black metal, with a slight sense of melancholy from the British Isles. You have to love that (and this awesome cover).
With a pleasant acoustic tune opening the album, we’re soon moving into a dense blanket of blackish metal. There’s a particular element of distortion in the sound that may not be to everyone’s appeal. It’s almost annoying how woolly the album sounds at times. That doesn’t take away the absolute beauty of a tune like ‘As the Shadows Rise’. Big blistering walls of guitar, but also the melancholic twangy intermissions that reverberate.
The meandering folk tunes now and then offer respite, like the haunting ‘Drifting Through Autumn Trees’. With only a distant cry of guitars, the song seems to give a little intermezzo, until a tide of distortion floods everything once more. For me, the biggest downside of this record is exactly that. The brisk nature sounds, samples, and acoustic parts are hauntingly beautiful but often drown in the reverb and distortion. It’s possibly a choice, but I’d like to hear a more crisp production Blencathra personally, so the riffs shine even brighter.
Origin: United States
Fief seems to generally have been hailed as the new king (or kings) of dungeon synth. Maybe that’s a stretch to state, but the releases of this unknown outfit are much adored in the genre. Now Fief returns with their third offering of folky music and it seems to have even gotten better on ‘III’.
The artist from Salt Lake City in Utah makes what I consider the best bit of dungeon synth, due to its particular foresty sound. There’s a lightness to Fief, a peaceful joy, and gentle vibe. It’s the thing we often lose when we stop reading books and playing video games that beckon.
On this record, a new layer appears in the music of Fief. The sound becomes richer, fuller and all without ever losing the tranquility of early digital worlds. Remember those video games, where you could walk around rather peacefully? Or build your own settlement without the pressure of time and resources? I always enjoyed the calm and peace of those and I find them in this music.
Listening to the music brings you to that state of reverie. Of simply allowing the tones to wash over you, calm you down. There are two layers of music, dancing around each other in a swift-paced dance that fits best in a tavern or an inn for your RPG game. It’s never overly present, but also interesting enough to capture your ear. It’s just so darn pleasant.
Label: Cold Woods Productions
Band: Black Kirin
Black Kirin makes a bold statement with their latest album. Earlier I listened to their acoustic album, which I found rather pleasing, but I can’t use those words when we speak about ‘Nanking Massacre’. The Chinese band appears to be particularly productive, but this takes their expressions a notch upwards.
The ‘Nanking Massacre’ is also dubbed the ‘Rape of Nanking’ and can only be described as one of the great atrocities of history. This is the name for a series of events, following the taking of the Chinese capital of Nanking by Japanese troops in the Second Sino-Japanese War. Earlier I also checked out
their ‘Xiao Shiao’ album.
Thunderous metal greets the listener, spiced up with mournful strings from Chinese folk music and the wailing singing associated with the same musical heritage. Combined with the quite heavy, rhythmic music, it offers a quite different listening experience. Another aspect is the operatic sections, but all parts seem to find harmony on this album. Black Kirin uses contrasts for maximum effect.
It’s weird for western listeners probably, to hear radical shifts between classical passages and intense, full on heavy metal. Apparently that’s not such a big deal for bands from the far east. After the melancholy of ‘Da Qu’, you’re thrown into chaos on ‘Evocation’. Blistering, crushing riff work assaults you on ‘II. The Song’, with wild sound effects, singining, and screams. Brutal death metal pounds away, in that typical chaotic manner. Personally not my favorite style, but well fitting in this conceptual display of human horror.
And then there’s calm again with ‘Nai He’. Weary guitar picking and chiming sounds in a more free flowing way, never actually trying to build a song structure. The simple expression is enough to convey thoughts and feelings. I am filled with ideas and thoughts at the end of ‘Thousand Years’, the outro of the album. Again, Black Kirin has enchanted me with an amazing record.
Label: Transcending Obscurity
Brazilian masked marauders Jupiterian are back with a bang…and another bang… and another bang… Their heavy death doom (or doom of death maybe?) has shaken up a stir in the music world and I wouldn’t be surprised to see these gents appearing at the cooler, underground festivals very soon. ‘Terraforming’ is the second full length from the prolific music-making gang. São Paulo must have shuddered and shivered…
If you want to know more about this band, check out the interview I did with them not too long ago. Noteworthy is their continuous collaboration with Mories. The man is known for his project Gnaw Their Tongues (and a dozen other projects) and he helps to create that eerie, atmospheric sound that makes their doom more than just pummeling violence. Add to that the label Transcending Obscurity from India and we sort of have a global project going on.
Jupiterian is a megalithic sounding monster, that delivers massive slabs of doom. Their atmosphere is much more complex though, mixing something very earthy with the plumes of smoke,like a ritual or seance might offer. I’d describe the sound they blast out on ‘Unearthly Glow’ as cavernous, but it’s simply too big and massive to fit that description. Their music is densely atmospheric to the point where it is really much like a mysterious gathering. It matches with the hooded live show of the band.
The dark chanting on ‘Forefathers’ is one of those special, heavy moments. At other times, the band sounds like an eruption, as if the earth underneath your feet is cracking at the sheer impact of their heavy riffing and bellowing vocals on a track like ‘Us and Them’. Most of the times, the band sounds massive, but the crushing impact of every riff somehow hits where it hurts. Never does it seem like any hit of the bass drum or drop is reckless bashing, it always is just right. The calculated playing makes this album so exquisitely heavy.
Jupiterian has taken some spices from other genres and made a punchy dish of doom for your listening pleasure. This is a new highlight for the band.
Label: Hexencave Productions
I have to admit, that this record struck me as a little odd at first. The cover artwork and title were a bit strange, but the music didn’t need any of that to be convincing anyway. Krolok is a project by HV from Malokarpatan and Remmirath, that has been stewing for a good 6 years. This is the first record, titled ‘Flying Above Ancient Ruins’.
The title embodies themes that Krolok seems to revolve around. Mysticism, vampires, nature and the night create a particular sound, with a certain tangible aspect to it. Peter and Miroslav from Malokarpatan assist HV in this project and it’s well enjoyable if you like your black metal to be down to earth, but also filled with a folkloric wonder.
Interesting enough, this reminds me instantly of early Mayhem and Darkthrone. The rhythms are jagged, raw and sound pretty much the way they must have come out in the rehearsal space. The vocals on massive reverb sound cavernous and ghoulish, slightly detached from the music, not even trying to find a melodic click there. Then there are quiet parts, where you can just bask for a moment in the creepy atmosphere the band throws about.
Krolok is not so much into the hyperspeed blast beats, but sticks to a formula that has worked since the early days in Norway. That’s also pretty much the vibe they’re sticking with. Static guitars create this feeling of solid waves of sound assaulting the listener, while you always feel slighlyuncomfortable due to the unpredictable vocals. What I do like, is how they put in these short breaks here and there. Nothing is as boring as hearing the steady guitar riff for 40 minutes consecutively and those albums are around too. This is a fierce and exciting record, the way I like them.
Label: Redefining Darkness Records
It’s not a huge offering of music, but ‘All is of No Avail’ leaves you fulfilled anyways. The Belarussian duo Khandra drops this first EP, but apart from that, there’s virtually no information available about this band from Minsk. This is a bit of a shame because these 2 songs are one of the most powerful declarations I’ve heard in a while.
In a sense, this record is Khandra saying that they’re here, but not who they are and why. Well, you can’t have it all and this sort of music thrives on mystery.
We start with ‘Where Death Has Settled In Life’, which comes on with the big, echoing sound that I always appreciate so much in a band like Primordial. The bold statement of the grand gesture to announce starting the rites. That’s just before the band completely unleashes a barrage of sound. Like the heavens opening, the sound falls onto the listener. There’s a sense of vibrancy, of writhing guitars that almost feel alive and impossible to grasp. The sound is densely atmospheric at other moments and very easy to digest.
The melody line grabs you by the throat on ‘Presence is no longer relevant’, while you bask in the warm bath of sound. Again, there’s a certain grandeur to the way the sound unfolds. The mix and recording of this record are of an amazing quality, yielding a crisp and polished sound. That’s even more charming actually because the grim necrosound would wreck all the subtleties in the music. This song has a lot of these clean melody parts, which makes it almost catchy. Music to embrace in the colder days, when will there be more?
Frozen bits of Reality from NERATERRÆ
Originally this project by Alessio Antoni was started in 2009 under the name NHART. NHART became NERATERRÆ and after a long period of time the music made in those early days is available to the listener. ‘The NHART Demo[n]s’ offer haunting creations from the past that need to be set free. That is what this release is all about.
Antoni also plays in Alma Flua, a band playing pretty straight forward rock and roll. The beast unleashes in this project though, which is a mixture of ambient, death industrial, power electronics, noise and drone. Te record consists of three demo’s from those early NHART days with truly intriguing sounds and sonic experiences to bask in.
The record feels a lot like being way to close to machines and devices in factories. Trains coming through tunnels and engines rattling. Fluid, mechanized and continuous are terms that describe the way the sound moves. There’s little to no song structure present, you simply get the cold, blaring sounds of an industrialized world presented in 4 minute formats. It chops up bits of that reality and freezes them in time. Some tunes follow a more industrial orchestration, but it remains an unpleasant experience.
If you imagine this music as part of our daily surroundings, isolated and ripped from the daily noise, the oddness sinks in. Otherworldly effects are part of what we hear on a daily basis and yet we hardly manage to distinguish them. The sounds NERATERRÆ captures on this record are testament to our alienated world. It captures a radical disonnect from the many aspects and layers of our daily experience I might read to much into it, but the almost David Lynch-like (check the Eraserhead soundtrack) quality of this record feels particularly confrontational. Dark and full of despair, a record of clarity.
Label: Transylvanian Tapes
Band: Battle Hag
Origin: United States
Battle Hag seems like a D&D players fantasy, but don’t be mislead by the peculiar artwork. This band from Sacramento crushes on their debut album. After a demo in 2015, the ‘Tongue of the Earth’ album is their tectonic offering to the world of heavy doom metal. A worthy effort indeed. It’s only out on tape, so that’s quite an interesting thing as well.
The music of the group seems to be inspired by the big, lurching sound of modern doom. Thematically there’s a Lovecraftian eschatological abyss lurking in their sound and words. The record was recorded in Earth Tone Studios in Sacramento by Patrick Hills.
The sound progresses slowly, with minute shifts and heavy, cumbersome movements. Ginormous riffs create a monolithical heaviness to the sound, but the crushing effects are minimal, as the band chooses for a more languid flow in their sound on ‘Necronomichron’. A twelve minute lasting behemoth of a track, it is completely impossible to resist its flow. More force is on the next track, ‘The Book of Thoth’ with gurgling vocals and abyssal riffs that reach for the heavens in despair.
Battle Hag sounds odly melodic at times, not simply relying on being heavy to create their maximum impact sound. The flow of the sound feels weary and haggard at times, The drums take on odd, almost shamanic rhythms at times, like on ‘The Tower of Silence’. As if they form a summoning rite for a foreboding storm or a dark ritual. The band likes to add subtle things to the music, to enhance its impact. The cavernous vocal effects on the aforementioned song for example, while riffs seem to evoke a torrentous feeling at the same time really work.
Battle Hag offers a great debut full of little surprises. You’ll find something every time you spin this one.