Underground Sounds: Bròn – Зарђала Круна/White City, Black Circle/Ruins/Where The Leaden Dawn Meets Iron Shores

Label: Kunsthauch/Independent
Band: Bròn
Origin: New Zealand

The project Bròn originally released an album with a very natural vibe to it. It had the eerie magic of the night sky over the mountains as depicted on the cover of ‘Ànrach’ and I absolutely loved it. I wrote a little about previous release ‘Fògradh’ too.  Bròn is the project of Krigeist, or Andrew Campbell, from New Zealand. Campbell relocated to Scotland and there’s a definite connection between that move and the sound of Bròn it seems. He also plays in the amazing Barshasketh and Belliciste.

I missed the fact that Bròn had become a prolific outlet for the musician in the past year, so high time to catch up with the astonishing 4 releases of last year. I was reminded of this, because of the live show I saw in Little Devil recently. All exploring new aspects of nature and different sounds that express that passion and beauty found there. So this is 4 reviews of one artist. Never do words like this do justice to the full force of these albums, but I feel that I need to cover all for completion.

Bròn – Зарђала Круна

January 2017 saw the release of this record, which sticks close to the familiar Bròn sound with a lot of soaring guitars and tremolo riffs. The inspiration comes from the devil in nature, that is the only info given. The choice for a Cyrillic font does say more than that though. A later notification on Facebook said that it was inspired by the Serbian wilderness and the darkness within. There’s a definite darkness to the Balkan forests that is caught in the looming, dark sound of this new EP. The untarnished sky above it at night, the shades of the trees.

The record is a multi-part atmospheric black metal piece, with a definite Burzum doom and gloom vibe to it and the grandeur of an Elderwind.  The crisp clear production sometimes borders on overly polished but keeps on the right side of the track in all its overwhelming force. At other times it has the gentle trickling of an empty forest, where all you hear is the gentle sounds of the natural world around you. Pure magic and all of that in one long piece of over 32 minutes. Unfortunately, it’ll be the last black metal release, thus wrote Krigeist. His newer soundtracks take on different shapes.

Bròn – White City, Black Circle

Living in an urban environment requires a different soundtrack, wrote Krigeist on Facebook. He explained the sound of ‘Зарђала Круна’ while introducing this new release. The organic sound of the previous releases is vastly more fitting for the verdant realm indeed. The album signifies a radical turn in sound for Bròn. With a groove that is more triphop we enter the realm of tarmac and concrete, with lamp posts illuminating the grey jungle around you. Meandering between the aforementioned, synthwave and maybe a little dungeon synth, the sound is peculiar but fitting.

The titles are in Croation, referring to central themes revolving around that of Bròn (sorrow). It offers songs of those dark, nameless places we dwell in. Whether that’s a city in Croatia, Norway, Scotland or I wager even in New Zealand, there’s a sort of nameless grief there. The mixture of beats and ambient drones conveys that feeling very well. I particularly enjoy the mixture of that with the synths, which is always the sound of the urban environment. Towards the end of the record, the music is lighter, warmer as if the sun has broken through the smoggy haze. We leave the city here to the free part of the world.

Bròn – Ruins

On Ruins we find the same instrumentation, but a more Ulver or even folkish vibe at times with spun out tones and long passages of melancholic music. The music is calm and soothing and does, like the title tells you, remind of the tranquility you find in between forgotten ruins. That is also what the song titles refer to, to various locations of ancient ruins in corners of Europe, places that make you think and imagine. The vocals are gentle as well, almost chanting in a meditative way. The record even includes a folk cover ‘Twa Corbies’ from Scottish lore.

The sound has a clarity to it, everything is wavering and calm like an easy breeze. It’s almost like listening to an acoustic performance with various musicians, all delivering the minimal bits of sounds that make out the complete tapestry.For me, this might be the most beautiful album that Bròn has created this far. The music is so intricate, without ever sounding difficult or overly contrived. It’s a natural expression of the feeling in easy flowing, but still heavy music. After this record, Krigeist announced a hiatus for Bròn. That was definitely not meant to last after this june 2017 release.

Bròn – Where The Leaden Dawn Meets Iron Shores

A trip back to New Zealand was the impulse that Bròn needed. Krigeist was revitalized and inspired to make music again under that banner and three tracks expressing the untapped dark energies that dwell in New Zealand’s wild places. There is definite darkness on this album, which almost faded on ‘Ruins’. A long murmured intro with foreboding synths leads us into this new record. Eerie synths slither out of the speakers, while a creepy, scifi tune is played on the keys in the most bombastic tones.

But then there’s also the guitars and the screams. It would appear that Bròn comes full circle here and finds a sound that truly embraces the atmospheric output that Krigeist is looking for. The melancholy of the synths, combined with the harsh, ruggedness of the guitars. The ragged fury of the vocals, like that furious sea wind biting at you, while ver in motion on the waters. Three tracks tell the story that is both beautiful and grim at the same time. I guess it makes sense what Kant once said on the sublime in art, which really goes for nature. It’s overwhelming force can overwhelm us with awe and wonder in a sense. This is well conveyed in this piece of music by Bròn, which I really enjoy.

Let’s see what the future holds for this explorer in both the geographic and artistic realms.

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