Label: Wolfspell Records Band: Hermóðr Origin: Sweden
The man behind Hermóðr is Rafn, a man who has been active in dozens of black metal projects in the past (like Mist, Deadlife and Vredesmod but an uncannily long list more). This one has been one of the longer running ones. Atmospheric black metal with a focus on nature, the north and the ancient times when the world was still younger and more close to us.
In the music of Hermóðr the listener finds something grand, the uncharted nature and the wide stretches of uninhabited ground. On the cover alone the cliffy coast beckons in a golden morning light, while calling the brave and bould to approach. I’m immediately pulled in by that imagery. There’s definitely a strain of folk music present here too.
The trickling intro promises mystery and adventure as well, but also the feeling of autumn in the air. The music never really transgresses into the tremolo and blast beat grounds of more traditional black metal and remains a more ambient metal-like soundtrack to the season. The slow progressions on songs like ‘Summer Ends’ are more inward. Introspective tunes that make the listener look back at himself. Thoughtful and with a haunting beauty the songs wander by, with an odd guitar riff spinning out or a bass line clinging to the inner ear for a moment.
Even on ‘The Mystic Forest’ the leaves are turning and icy vocals reach out to you. They’re buried deep in the mix, which I don’t always get. Lyrics should be audible atleast I feel, but it works here. The repetitive shimmering guitar parts lull the listener into a dreamy state, enjoying the natural state of the world around them. It reminds me a bit of Falkenbach, though maybe with that modern element of Drudkh. The slow, pastoral progressions, the laborious toiling of nature. The music falls in with the current movement that takes out the human part and shows nature in a pure, unspoiled way. A tradition harking back to the ‘Dunkelheit’ video by Burzum even.
A good example of really going in that direction is the song ‘Snow and Ice’, which really fades in a noisy snowstorm towards its end. The dirge-like sound just fades away due to a hazy cloud of noise. This album is one that is special. It certainly possesses its own darkness an depressive qualities, but these are just the shifting elements of nature. There’s a simple grandeur to a track like ‘The Howling Mountains’. There lies its beauty, in its uncomplicated appraisal for the natural.
Label: Nomos Dei Band: Coume Ouarnède Origin: France
I’ve been intrigued by the releases of Russian label Nomos Dei, since I found out about them. This is another mysterious release, that is in fact a quest of discovery to find our ancient roots in the mighty mountains of the Pyrenees through music, ritual and ambient sounds. Something profoundly archaïc can be found for those who dare search for it.
Yan Arexis is a percussionist, who also has been active in Stille Volk (pagan folk)and Sus Scrofa (pagan black metal). He pretty much founded all those, but also La Breiche and Cober Ord. Another set of projects unveiling archaic Pyrenean folk. So, all in all Yan Arexis is at home in the field of music he is practicing on this record. This explains the compelling force of the record for sure.
The name of the record translates as ‘those who the empty trees’ and the purpose is to create music, like it was 10.000 years ago. In awe and respect of nature, to please the gods. The percussion you hear is natural. In the description Arexis claims to use stones and rocks. The forest sounds surround the central musician, who murmurs ancient words on a whispering tone, while tribal drumming sounds softly. The sound of howling birds sounds in the background as the listener is slowly talked into a trance.
Sometimes the music is barely audible, but it’s a constant trickle of sound. Mild ambient, softly blaring sounds and the echo of something akin to bells. In particular the track ‘La Coume Ouarnède’ is a track to sink into and let go of all other things. The tribal drones are the leading element, helping the listener to find a calm. This whole record is hard to describe as a rational experience. It’s a primordial expression of spirituality and offers a meditation gateway for the listener. One needs to be open for that. If so, you’ll find a wealthy, rich album of ancient folk.
I’ve come across many kinds of music and many artists and some stick. Sometimes I don’t even get the words directly, but something in the way they are sung tells you of their meaning.
Header photo by Olafs Osh
One of those artists is Imants Daksis, a latvian singer/songwriter, who makes ‘screaming folk’ music. Daksis is a peculiar figure in the Latvian music scene. Deeply artistic, expressive and solitary caught between the east and west. Check out the latest record right here by the way.
I was extremely excited to find him willing to answer some of my questions, so without further ado, here goes:
How did you get into music and how did you end up on this specific path? Which artists inspired you? When I was 15 I realized that guitar is my instrument. I began writing songs at 17/18 and at the same age I had already planned and written down concert repertoire for many concerts which was even far from planning. So it happened quite naturally.
In 2001 we made a post-punk band together with my friends. The band was called “Pasaulesgaisma” (Light of The World). After few years I began my solo act.
I experienced my first musical revolution at 13 when I heard Jimi Hendrix. I am still fascinated by the way how liberated he was in his playing. In my opinion, it is possible to reach true virtuosity by doing things your own way and not according to the so-called canons.
My own music has been influenced by 60s’ psychedelic music and ethnic/world music, post-punk bands (such as Swans, Bauhaus, JoyDivision, etc.), Russian punk scene (Grazhdanskayaoborona, Instrukciya po vizhivaniyu, etc.), and some local artists as well. Also I have great love for Russian singers-songwriters VladimirVisotskiy and Alexander Bashlachev. I have always been loyal to independent music and ground breaking avant-garde, though I am more interested in particular artists than genres. Not to mention the influence left by classical music and music for cinema. The last one has particularly leaded the way on how I make my own albums.
However, for the past 5 or so years I am mainly getting inspiration of my own musical work which has been recorded in the past and developing my own ideas.
Are you involved in any other projects at the moment? Right now I have collaboration with one electronic music artist and I am also a lead singer in s rock band. At this moment these projects are focused on making records and there are my songs involved.
Music is not my only occupation. For the past six years I have also been making photo collages.
What does making folk music mean to you? I don’t associate myself as a folk musician and I have never felt the need to belong to any music scene. I think that my music is more expressive and controversial than a typical folk musician could tolerate. I could say that it is somewhere between folk, psychedelia and post-punk. Some time ago my Latvian audience invented a new genre to describe what it sounds like – screaming folk.
What are the thoughts, images and messages you try to convey in your music? I am into such themes as death and transcendental processes of any kind of consciousness, weather it be human mind or mind in wider meaning.
Is there any political element to your music? Or a religious one for that matter? In my music I actualize the need for spiritual freedom. That is the most important thing for me. There are also motives of reincarnation and transformation in general. My music is not political. However, from all political systems social democracy is the one I prefer the most.
How important to you are the traditional elements in music and culture in present day Latvia? Where do you see your own role in this? For me traditional elements are as important as any other elements are, if they are used to create something good.
Not too long ago I was a vocalist in a post-folk project “Pērkonvīri” (Thundermen). We were looking for innovative sounds and interpretations of Latvian traditional music and recorded a very good album together, which you can listen here. This has been my closest affair with traditional music so far. However, I have composed a couple of songs by the same principles as Latvian folk songs are based on (speaking of the text layout and rhythm). I don’t like to tag my music with genres, but I see it more as a combination of acoustic post-punk, indie, psychedelia and folk in general.
Can you tell a bit about your latest album ‘Mūžīgā ģeogrāfa piedzīvojumi’, which is a great record. I understand it’s an album with global themes, for example the Judah Song. Why did you choose such topics?
“The Adventures of Eternal Geographer”. This album is dedicated to the eternal geographer – a character which has repeatedly appeared in my music. For eternal geographer our so-called reality and civilization is something only so-called. He does not cling to anything and does not see the statements and ideas made by this society as something unconditional. Eternal geographer is not attracted to any ideology – he laughs about the borders which are made by human society (for him human life is only a temporary challenge). This album is not only about global themes, but the abstract nature of them. It is about human in the world and the world in human, and in general it tells about spiritual processes.
When I try to read translations of your lyrics and texts accompanying music, I feel and see a lot of poetry and literature, also in referencing. Do you take this as an important influence on your work and which writers most of all? I have always had an ability to perceive and memorize huge amounts of information. When interested in something, I literary start studying it. So when an image, reference, rhyme or anything else is needed, it just emerges from this storehouse. I am interested mostly in spiritual and explorative literature. And in some spare moment I will read children’s or adventure books – that adds some ease and buoyancy to my daily life.
Folk music has a risk to sound outdated, how do you keep your music so catchy and relevant? It never feels repetitive to me. My life is hard both internally and externally, that makes my music catchy… Well, every joke has a gain of truth. I have very wide range of interests and influences. For example, right now, besides answering these questions, I am listening to Syrian traditional music and Sardinian polyphonic singing. I also experiment a lot till my music reaches my mental state (a song has often gone through several wholesome versions). My aim is to achieve unexpected results, while using minimal resources (that especially refers to live performances).
What plans do you have for the near future? I have some very divergent musical plans and projects for this year, and also my photo collages soon will be finally finished.
If you had to compare your music to a dish (food) what would it be and why? I would like to think that my music is more eternal than food. Food is something that has to be taken to provide this physical life, but I make music to transform it.
Label: Self Released Band: Ēnu Kaleidoskops Origin: Latvia
Sometimes you need to find the sound that is lcoser to nature, by venturing into nature and trying to get in touch with it. This is what Mārtiņš Links did, while studying in Lithuania. It is the origin story for the band ĒnuKaleidoskops from Latvia. A group that creates neo-folk with a particular calm and natural feeling to it.
This is as far as I can gather the third full length album of the band. The engineering work was done by Kaspars Barbals, who is a familiar name due to his work in Skyforger in the past. The group is a loose collaboration of artists, joining forces where needed to create beautiful music. On ‘Tie, kas šķietami zuduši’, the third effort under this name, they succeed for sure.
The music is typical for the Baltic tradition. A bit heavy handed, a bit dark sounding, but also very cozy and natural. A lot of chanting and a wide array of instruments to create all the different little sounds in the clean recorded songs. The vocals are mostly in harmony with backing vocals and instruments, like very clearly audible on ‘Asā zāle’. Meandering, wavery instrumentals put no pressure on the listener.
The playful folky medleys, like ‘Elpa’ with a Jethro Tull-y flute are very pleasant to the ear. Catchy, but also a little dark and unpredictable. On ‘Bula Laiks’ we even hear the intense rhythm section stepping back for just an idyllic bit of flute a few times, which sounds so heavenly peaceful and calm. The combination with the vibrant energy of the percussion is a thrill for the ear. I think that ‘Rūķu armija’ with its jolly intro is even a little bit of a hit potential song.
The core of the music is typical for Baltic volk. The reciting tone of the vocals, the repetitive patterns of the music and all are very much reminiscent of an act like Romuwe Rikoito and I guess a dozen groups, since this style of folk is simply quite popular. Not that it’s a casual thing that the people enjoy, it seems that there’s quite some younger people inspired to re-invoke the heritage in this type of neofolk music. The repetitive element is a common feature, but the flute play and expansive instruments are not necessarily so. It does function in such a way to create a feeling of otherworldliness, even trance by the repetition. The listener sinks away into a much emptier, younger world.
The mystical sound of this group definitely works for me.
Label: Deivlforst Band: Wolcensmen Origin: England
We are what we are, because we are shaped by the land we hail from. For a long time the British isles offered much of their heritage in the form of folk, story and song. You can still see that in the more remote parts like Ireland, Wales and Scotland, but England itself seems to have lost part of it. Wolcensmen is in that sense a breath of fresh air with their heathen folk, reclaiming something that might seem forgotten.
Wolcensmen is more than just a folk project by Dan Capp (known from Winterfylleth), its a platform featureing various artists who collaborated with the Englishmen to bring his dream to life. One of the participants is Canadian cellist Raphael Weinroth-Browne (Musk Ox), who is brilliant. Another is Grimrik (Arath), who is a master of dungeon synth, and creating those Burzumesque atmospheres.
Jumping ahead for a moment to the main contribution of Grimrik, that Burzumesque feel is immediately present ”Neath a Wreath of Firs’, which was written and performed by the German artis. It truly captivates that eerie forest spirit. A great tune, but my avorite is at the start of the album. When the intro starts, I imagine beautiful landscapes like those on the Winterfylleth album covers.
That feeling remains, but even more ina an eagle-eye perspective in a soaring, praying calm on ‘The Fyre-Bough’. The second song with this majestic, droning song is a connection to The Hobbit soundtrack, particularly the song by Richard Armitage ‘Misty Mountains’. Though the similarity is not as strong as my words may suggest, there is a similar evocation of a more pure, clean world that is both rough and free as well as pastoral and calm as one can find in the work of Tolkien. I wonder if that is an inspiration for Dan Capp.
There’s something more gentle to the English folk music, compared to its Celtic counterparts. It’s gentle and freely flowing akin to a calm river through a green meadow with gnarled, old trees hanging over you. It lacks the rugged yearning of the Irish and Scottish folk, which I find is particularly true for Wolcensmen too. There are other elements woven into the music, which is mainly guitar, bodhran and synths. The droning strokes on the cello by Weinroth-Browne give the music a lot of its atmosphere with a deep, sonorous sound that gives the tunes their earthy feeling. A song like ‘Hoofes upon the Shymmeringe Path’ have something of an early approach of spring. A liveliness and hunger for green land and being alive again, with a foreboding drumming and double vocals.
A song like ‘Yerninge’ feels more like a crackling fire on a snowy winter day, when the sun has gone down and the fire offers that uncommon warmth and joy in the dark hours. There’s always a calm and tranquil feeling to the music though. It takes the listener to a time where fantastic creatures still roamed the land, like on ‘The Mon ‘O Micht. The base for the song is an old poem in dialect. The words even hold some particular wisdom. Dan Capp delivered something beautiful here.
Wolcensmen don’t sound like anything else really, but in a way they do sound very familiar. Like a voice from the past, that makes you think of a more peaceful time. A lingering memory of something that once was.
Label:Neuropa Records/Música Máxica Band: Sangre De Muerdago Origin: Spain
When I read of the origin of this band, I had to look it up. Though I’ve heard of Gallicia, I never really knew where it was. Now, it is that strange corner of Spain north of Portugal, where legends roam. It’s a land that is green and filled with rivers, haunted by myths and legends and very ancient. No wonder that this band speaks about that.
Sangre De Muerdago is a forest folk group, as they describe it. Which means that their inspiration is nature and the little stories derived from it. The words are in Gallician, which is closer to Portuguese and the music is traditional and in its own way ancient and primitive. Primitive I would normally use for rough, unsophisticated music, but in this case I mean something different, I mean its voice, its timbre and all over harmonious, natural vibe.
Oh, and they like Motörhead. This album tells a story of a fox, which you can find out about all by yourselves. The music is a swirling collaboration of acoustic instruments, that weave together this story. It tells of old tales, the forests and hills, of men gathered around the fire or under the moon to make music (and women, obviously). The thrumming of the bodhran and the continuous flow of the hurdy-gurdy are excellend instruments to create the atmosphere of a forlorn age. Continuously pumping out sounds, while a bouzouki is played and other traditional elements come to play.
The record is a mixture of traditionals from Galicia and Bretagne. Also the work of folk band Milladoiro is used, for example the swooning ‘Agullas de Agarimo’, with its harder tones and dancable energy. Different is the fragile ‘An Dro’, which meanders through an eerie forest in the early morning, when the lush green is still moist and awakening. It’s music that takes you away from the concrete jungle, to a place more simple and easy. It may just be a small taste of the Gallician group Sangre De Muerdago, but offers a wide array of folkish enjoyment.
To me it matters where I come from, it matters where I feel at home and I feel a connection to certain traditions and religious tendencies. I’m happily embracing the harmonious ideas of heritage, This is something that is very persistently present as well in extreme metal music. The connection has provided us with endless political discussions, but does that make as much sense as we think?
Though there is the rare band that embraces national socialism, racism and nationalism at large, it’s a very rare occurence. Most bands say they are anti-political and not without reason. Extreme metal has one characteristic that defines it.
Individualism: Defining the self
Extreme metal has often been about the individual. This is probably why NSBM is such a weird mix of two world views. Metal is against the herd and for the self, but that leaves the void of identity for a person. We, as human beings, like to define ourselves as something, we are always looking for a sense of belonging and reason to be. Even black metal warriors delve into identity and spirituality on all sorts of levels.
Connecting to something like our heritage, traditions and maybe nationality is a logical thing to us. Sure, we can still accept that we are all one people, but we’re defined by where we are from. Does that make me a Germanic pagan? Not necessarily, but it might just as well. Bands like Skyforger, Winterfylleth and Moonsorrow had a hard time getting the difference across. Self-identification is an individual proces, which sometimes works as a concept and identity for a band, but that doesn’t make it the herd behavior of institutionalized nationalism or racism. It’s about defining the self, not the other.
The Other: Defining the opposition
The other side of the medal is when identification of the self is done in order to define the other. The other is, for some reason or purpose, the opposed of what the self should be. This is a lot harder to do in a way, so much easier to do by defining the other first. Now, here we come into the terrain of professional hate mongering. Defining the other with unwanted characteristics is very effective, because it defines both sides. This completely binds the relation to the other in an absolute relation of the lesser and the better. There is no need to approach the other anymore, because the other is evil, wrong, lesser and the enemy.
When we’ve defined the other, we usually end up with a stereotype, with a group we’ve vilified. This puts us in a group too and sadly we soon will find likeminded individuals. The hate is concrete enough to fuel itself, but high-over enough to define all others. Though metal has the tribe mentality to form a cohesive group, it just isn’t in the nature of the culture to find such unity. Individualism is part of that identity and so is discussion and interaction. This sort of defining just doesn’t work in that environment.
Open hearts, open minds
It’s perfectly possible to have an identity bound up with the local, the past and belief, but be open and tolerant to others. Interaction between cultures is what shapes them, but if you define your opposed identity you’ll never know this beautiful variation. I talked to a Latvian metal singer once who said: “It’s ok to be proud of your country, your tribe or your belief, but if you feel superior to others you missed the plot.” Superior thoughts lead to isolation, which creates a fearful protection of what is yours. Of vague ideas of tradition and identity that don’t really matter at all. Imagine a culture on its own. How does it get any value if it’s not challenged by different ones?
I see this constantly in the metal world. People are embracing their own culture and past, but also interacting with others. Clearly showing that, a while ago a compilation album came out titled”One and All, Together, for Home” on Seasons Of Mist. Why would all these bands work together if they were the kind of nationalists depicted in the media? If they had superiority motives, why would they ever join on a record? It’s that sort of love for land, folk and belief that creates. It connects and enriches itself and the other.
If you open yourself up to the other, to culture of others, your identity and culture will change. We learn through interaction about the other culture. We adapt, we reform, we change. Change is scary, but not bad. This sort of change we are all too familiar with. We call it growth.
If we allow growth to happen, maybe we can even get some sort of enlightenment one day.
Murmur mori is part of an Italian collective that embodies more than just music. Stramonium seems to aim and various forms of expression and this just happens to be one of them. The collective has released a compilation as well featuring groups like Ashtoreth, Sangre De Muerdago and VRNA in tribute to winter solstice.
It helps to place where this group is coming from with a revivalist attitute towards old traditions and a drive to reimagine them in these turbulent, higly urbanized times. The old forests and mountains, the sacred places in northern Italy are what inspired this record by Mirko Void and Kurio Silva.
The music is mild, slowly trickling down with a gentle hand, but never fading away. The continuity is that of the mountain river and the wind, in which you can hear the gentle song of the vocals. It’s very much like listening to nature and finding that voice. On ‘Nemeton’ we hear eerie ambient, foreboding and mysterious, as are the omnious mountains in the morning light, when the peaks are still covered by the black of night and the sun peeps up in between.
The droning sound has an endlessness to it, which is very fitting with the topics of the music. The upbeat tribalism of ‘Il Legno, il Sasso e la Volpe al Fiume’ in its percussive dance, the gloomy droning of ‘Aquile’, it both embodies the experiences one can have in nature. Never does Murmur mori waste any sounds on filling voids, it’s as complete as the nature they describe. Both the silence and the vibrancy, which can both be seen when not obscured by darkness. The discrepancy between the timbre and flow of closer ‘La Caverna’ in its own way speaks of the many sounds you can identify, the many roads to walk.
The record in its entirety is an exploration, a quest into the heart land of Europe, south of the Alps but flocking to its outskirts. It’s a tangible quest of sound and feeling, much like I feel I’m experiencing. It’s also lovely.
Let me entertain you with some underground tunes by Ashbringer, Wederganger, Laster, Wilderun and Eternal Khan. Hopefully you find something you dig in there.
Ashbringer – Yūgen Avantgarde Music
The name Ashbringer resonates to me due to the obviousl link to Warcraft. The name of the legendary blade is almost as enchanting as the music of this band, which is unique, atmospheric and grand, but always staying on the edgy. Their debut was ‘Vacant’, released in 2015, by the Minnesota group. That already intrigued me, but ‘Yūgen’ is a whole different beast. The group formed around Nick Stanger (Astral Blood, No Heroes, ex-The Broken Are Crowned), who decided to pursue his solo dreams. To my dismay I found that I never got around to penning some words about Ashbringers debut, but do check that out if you have a chance.
Deep melancholy oozes from the sound of Ashbringer. Its’s full on, blazing black metal, swelling up like a roaring fire and rolling over you, but in there is a layer of synths. Those create that feeling of magic. The band is also not afraid to add folky elements to the music, not necessary hidden behind bushes of distortion, but offering an intermezzo in a track (even the opener) or soaring high throughout a song like ‘Oceans Apart’. It adds a postrock vibe to the atmosphere that Ashbringer delivers, but the twangy steel sound of the guitar on that song takes it somewhere else. It places the band completely on its own path. I think you can compare them to a Deafheaven, Woods of Desolation and ilk, but to me on ‘Yūgen’ the band has found their own sound, which is distinct. As the Asian word they chose as title indicates, it’s mysterious and profoundly expressing a sort of suffering. This is a glorious record.
Laster/Wederganger – Split Ván Records
Laster is a Dutch band, earlier I discussed their previous release. That was an experience in itself, there’s a poetic side to the bands sound and words. On this new ordeal, the band unleashes a song that lasts close to 20 minutes. ‘Vederlicht Verraad’ is their contribution to this split, so I’ll split this review up as well. There’s something unorthodox about this track, mainly on the rhythm section, which sounds almost like wooden drums. Full on salvo’s are unleashed, but there’s a continuous measure of control to the sound, as if the band tempers the energy they unleash. From there the band slowly works towards a repetition that slowly dulls the listener, bringing on a trance that is ended by the harsh buzzing noise that remains at the end of the track.
Wederganger is a whole different beast. Steeped in the clay of their region, closely connected to more historical orientated bands and up for a bit of dirty, grimy black metal, this will not be a pleasant experience. Their song ‘Klaroenen van den dood’ translates as ‘trumpets of death’ (roughly). It opens with a languid, sizzling riff that electrifies your spine. There’s a feel of something looming in this track, it never really gives you a moment of peace and calm. The ghoulish vocals are accompanied by a galloping rhythm, that keeps a slow melodic pace. Rattling drums crawl under a soaring, buzzing guitar riff that sounds really like it’s charged heavily. Clean vocals in Dutch chant about death, it’s a typical morbid day in Wederganger land.
Eternal Khan – Lost in the Night of Ages Independent
I think that Eternal Khan is the musical equivalent of taking a bat to the face, that’s how intense the Providence black/doom metal band comes across on their second full lenght ‘Lost in the Night of Ages’. The band takes on themes like absurdity of man’s existence, which does intrigue me. The artwork and other promises also suggest that there’s an element of mythology to the band. On previous covers a Mongolian warlord is depicted, hulking and brandishing weaponry. That feels different on this album, with a more fantasy like creature adorning its front.
The feel of the magnificent riffing might be dirgelike, there’s an urgency and commanding element to the steady horse-back galloping riffing on the record. Maybe I’m just interpreting the ‘khan’ title in the album, but the threatening tone is more than just creating a languid atmospheres. In that militant element, there’s definitely a wink at Satyricon you could suggest. Vocals are much more barked and guttural and there’s definitely more of a stomping feel to the doomed up beats. Still, this is no step back in black metal history, this is a record in its full right, exploring a new avenue from that direction. It’s brutal, atmospheric and one big pit of swirling chaos. I only miss the real mythological elements that everything seems to hint at.
Wilderun – Sleep at the Edge of the Earth Independent
I’ve kinda left Wilderun for what it is for quite a while, untill I saw it pop up on some EoY lists here and there. The lustrous green hills on the cover did attract my eye, so I finally decided to give it a spin. Expecting something akin to Wildernessking I was surprised by the sound of this Boston group. The Americans produce their own specific sound of folk metal with symphonic elements. Now, this is a slippery slope that might lead up to a massive cheese fest of tacky, over the top metal music, but these guys manage to pull it of. Time to dig in and listen to the majesty that is Wilderun.
Combine the penchant for the dramatic storytelling of Turisas with the grandeur of musical brilliance of Opeth and you have a pretty adequate description of what the sound of this group is. Vocally and lyrically the work of Evan Anderson Berry is very strong and theatrical, but a bit too slick for my tastes. The same goes for the bombastic arrangements. When finally a shreddin guitar enters the fray on ‘The Means to Preserve’ I think I sigh audibly every time. Equally for the more gruff vocals by the way, but I can’t escape the notion that this is a majestic record, filled with grandeur and beauty of it’s very own kind by a band who are masters at their craft. It’s grandeur and picturesque nature remains unsurpassed and this is indeed a great album that I would recommend to those who like their music epic and sountracky.
There are sounds of the underground you must hear, this time with Hoth, Breabach, Rotting Christ and Inverloch. This means doom, gloom, folk and black, offering a wide listening experience to those who can handle it.
Hoth – Oathbreaker Epicurus Records
Hoth consists of Eric Peters and David Dees from Seattle, who took the name as fitting with their icy concept. The name obviously can be a reference to the frozen planet in the Star Wars universe, but also refers to the blind Norse god who killed his brother Baldr. The duo has been making epic black metal with clean melodic death mixed into it since 2011. Their album was re-released (originally it was self-released 2014) by Epicurus Records. The theme is a concept “that follows the story of an individual from his conception and follows him down a path that grows darker and darker.” A promising sonic journey it is then.
The result is something much more than what you’d expect. Not majestic black metal, but real storytelling with upbeat, majeure riffing and playful folky melodies. The riffing here and there reminds one of bands like Norther, who combined the grim, cold sound with melodeath in a cool manner. One can even detect a bit of classical influences and some Spanish guitar on some tracks, giving a bit more of an aura to the overall experience. ‘A Blighted Hope’ fore example is an extraordinary track, but so is ‘Cryptic Nightmares’ with its gothic piano intro. No worries, there is plenty of bleak, black metal left for you to indulge in. This record with its crisp production just doesn’t start boring you easily.
Breabach – Astar Breabach Records
Breabach plays Scottish folk music, but manages to do that in a contemporary form. The problem with folk is that it’s more often than not stereotyped, thus crippling the originalities that can be easily found in the local/regional scenes. The group has found compelling ways to emphasize their aesthetic, but growing as well by adding music from other folk scenes, like that of Norway (Olav Luksengård Mjelva), New Zealand (Scott Morrison), Australia (Yirrmal Marika) and Quebec (Olivier Demers and Le Vent Du Nord). Like any folk album there’s a lot of connections and meaning to this piece of work by the award winning group.
The sound of Breabach feels authentic and natural, upbeat and energetic with the throbbing energy of early spring in all its vibrant tones. Still, there is an element of modernity to the music, which reminds you of the timeless tunes Michael Danna made for the film ‘Boondock Saints’ in its filmic pictural force. It’s as if the band tries to depict the blooming heather. The interesting part is ofcourse the implementation of the ethnic instruments from the other parts of the world. It creats a multicultural harmony, that can hardly be found in real life, but shines in its singular beauty. For me, this is beautiful stuff and I truly recommend this to you as a listener.
Rotting Christ – Rituals Seasons Of Mist
Bombastic, grand and unrelentingly great are some words that come to mind when I think of Rotting Christ. On their last couple of albums the Greeks have truly found a connection to the ethnic roots of the band in mesmerising albums that depict bits of history through the magnifying lens of black metal amplification. The turn the band has taken since ‘Aealo’ has grabbed my interests for sure (2010). It’s been 3 years since the highly praised 12th album by the ever productive Tolis brothers, who still hold the reigns on the creative output of the band. There’s even an Aphrodites Child cover on this album. It’s so awesome, I can hardly stop going on about it.
For this release the band has gathered a ton of guests to add weight to the already heavy sound. Among those you’ll find Vorph (Samael) and Nick Holmes (Paradise Lost), but there are many more delivering their sacrifices to the sonic titan that is Rituals. Slow, massive riffs pulverize all in their path on a larger than life scale. The blaring bagpipes add another layer of frightning threat to the whole endeavour. The shift to the more pagan oriented metal really works great for this band and allows them to bloom to their fullest potential, even more so on ‘Rituals’ I think than on their previous work. The cthunderous choires and the exact placement of all the elements creates the epic feeling of a Hollywood blockbuster, which I mean in all the right ways. Sure, maybe this puts the band more in the corner between Cradle Of Filth and Eluveitie, but they completely dominate that corner, so its all good.
Inverloch – Distance | Collapsed Relapse Records
The band Inverloch started out under the name d.USK a few years ago, but the roots of the Australians are in the band Disembowelment. Interestingly this is just one of the many creative directions following the group that was active untill 1993. The band has also been booked on Roadburn, so the forward path has been taken by Inverloch. The interesting thing is that Inverloch came to be, when the two old members of Disembowelment decided to go have some fun with those old tunes. It sparked the creative fire in the two and that is what created this band, which was soon signed by the great Relapse Records for a full lenght. Time to check out what that does on a sonic level.
This record is something else, it’s very far away from the traditional death metal, but still incorporates elements into its desperate doom sound. The band truly sounds like a more swampy funeral doom at times, but then a blast of muddy, sticky death metal like on the song ‘Lucid Delirium’, with its catchy rattling drums. Crawling drumlines are like skittering, while gloomy riffs make the room feel darker. This is just a pretty awesome record, combining doom and death in the only way you really can do it. It’s overwhelming, disgusting and unnerving, but done with beautiful skill. Awesome.