A Forest of Stars – “Opportunistic Thieves of Spring” (2011) [Prophecy]

My nerdiness allows me this moment of enthusiasm. As one with a great interest in both the Victorians and theatricality in music I have been eager to check out A Forest of Stars for a long time. I had plenty of opportunities to buy their albums when they were released by Transcendental Creations (The Corpse of Rebirth in 2008 and Opportunistic Thieves of Spring in 2010); but for whatever reason I abstained. Lucky for me, these albums are getting the Prophecy treatment this year with the intent to make them more available to European audiences (May 23, 2011), and in a roundabout way that makes them more available to us greedy Americans...

A Forest Of Stars aptly describe themselves as a “musical attempt to merge the atmosphere and majesty of space with a suffocating darkness and a haunting, ghost-like quality,” which actually sums it up rather well. They understand that the Victorian age was marked by extreme contrasts and opposites (for instance, extreme sexual prudence and rampant child prostitution) and new attempts to experience spirituality outside of organized religion. This last point resulted in what might be called the first “New Age” movement. Coupled with Romantic exoticism it led to all kinds of ghostly rituals and gatherings involving wormwood and opiates. This is essentially the framework for the concept behind A Forest of Stars.

Bouncing fluidly from the bazaar to the séance, Opportunistic Thieves of Spring is full of varying moods welded into a full length devoid of dull moments. “Summertide’s Approach” for instance begins with a lighthearted fiddle and piano ditty, gets dark and ends in a majestic trance—all quite naturally. “Delay’s Progression” throws in some vocoder to excellent effect. And “Raven’s Eye View” shows the unique melodic sensibilities of the band and their ability to write a good hook—in this case a very blackened riff given over to the woodwinds. All of this, of course, for the purpose of capturing that flavor of the exotic and supernatural from a late nineteenth century perspective.

I’m not sure if the “psychedelic” label works for A Forest of Stars, at least not as I understand it. It feels to me like more thought went into the creation of the music of Opportunistic Thieves of Spring than might be expended on the typical “jam” music I tend to think of as being “psychedelic.” Eerie bells, cosmic keys, expressive strings and woodwinds, and atmospheric production (not too clean, not too lo-fi, just enough wash to make it sound big) are all used with calculation and taste. Even the noisy ambient bits such as the one that opens the first track, “Sorrow’s Impetus,” lasts only as long as it should to add color to the song. For this reason even where there might be improvisation each lengthy track feels composed.

One of the more original bands in the modern black metal scene, A Forest of Stars melds a unique fantasy and image with a dense, supernatural sound entirely their own. If, like me, you find the label “psychedelic” a bit off-putting, rest assured it does no justice to this band. Rooted in black metal, but so much more, A Forest of Stars’ Opportunistic Thieves of Spring is an album for stormy summer days... and perhaps a cup of tea.

-Bryan A. Wysopal

A Forest of Stars on Prophecy

Mamiffer / House of Low Culture - “Uncrossing/Ice Mole” (2010) [Utech Records]

Not long ago I encountered an expectedly brilliant album. I thought Mamiffer would be yet another sludgy post metal band and didn’t have much in the way of optimism for Mare Decendrii. As it turns out, Faith Coloccia and company are collectively “the man,” and that album is top tier (and not at all just sludgy post metal). Needless to say, I am quite the fan and will jump at any chance to write about anything by Mamiffer. Fortunately for me, Utech Records sent a split with House of Low Culture Inarguable-wards which landed in my hands. So not only do I get to hear and write about more Mamiffer, I get a new band too!

Beginning with Mamiffer’s “Uncrossing,” my first impression is that it is a bit more stripped down in comparison to the recent full length. This is younger Faith being represented here (the recording is apparently from 2008, at least in part) so that is not at all surprising. The music, comprised of piano, organ, synth, percussion (timpani?) and a variety of field recordings and other elements, divides fairly easily into two parts. The first part is where we get the melody and the hook—one of the great strengths of Mamiffer is that embracing of the hook. Faith plays a beautiful piano with all the levels the instrument can speak at answering to the command of her fingertips, and she knows just what melodic buttons to push to get it to register in the gut.

Not long into “Uncrossing” the steady pulse of the echoing percussion carries the music into a zone of floating harmony. Organ and field recordings take over and accompany the pulse through six or seven more minutes of shimmery texture and that pulse ultimately takes the song away.

I have less background with House of Low Culture (this is my introduction to them), but their track has some good things going for it as well. “Ice Mole” is a bit less on the structured side in comparison to “Uncrossing.” More layered and full of voices (literally at times), it contains a great number of distinct changes to focus on. It really functions more as a soundscape or a mood piece.

The various textures used are what drive “Ice Mole.” Harmonious and distant voices appear in the beginning and give way to a painting of sound that rises and falls, incorporating guitars, pianos, feedback and all sorts of fun things. The sound aptly resembles the cover art (a nice piece by Are Mokkelbost) and even calls to mind a little of old Tangerine Dream (think Rubycon or Phaedra) but with more in the way of ordered melody.

House of Low Culture’s track can drag a bit, especially when taken in just after getting through Mamiffer’s more—for lack of a better word—“accessible” track. Twenty minutes of meandering sound can require a bit of attention not always readily available. It has its strengths, though, and should be given a chance, perhaps skipped to and taken in on its own.

Overall, this two track split is a nice example of what both Mamiffer and House of low Culture can do. It is well produced and comes in a nice package with pretty artwork. I might be more partial to the Mamiffer track, but both pieces are different enough to stand on their own and yet still compliment one another. In an age when the split is something people seem to be doing just because, this one actually feels like a standalone work.

Check out the purchasing info on the Utech Records releases page.

-Bryan A. Wysopal

Septicflesh – “The Great Mass” (2011) [Season of Mist]

I like to think of myself as something of a connoisseur of symphonic metal. I make symphonic/orchestral music and I listen to tons of it, metal or otherwise. I do not claim to have any extensive schooling or fancy degree to give my opinion any weight, but I think a lifetime of exposure lends me some legitimacy. I know what sounds like garbage and what doesn’t, and when I was first introduced to Septicflesh through 2008’s Communion I knew right away that there was something special going on with this band.

When people think of progressive symphonic metal with occult or mythological themes they tend to think of Therion. The bands are similar in concept and structure; both are a mixture of gothic, black and death metal and both utilize orchestras and a plethora of different vocal styles (and vocalists). Both bands have a similar “heavy rocking with operatic singing over it” sound at times; and the clean lead vocals on the new Septicflesh sound uncannily like Snowy Shaw. The difference, though, is that Therion tends to get boring at times. Not that I don’t enjoy them, but too often the music is nothing but unisons even though and entire orchestra and choir is at their disposal. I tend to be left expecting something more from a Therion album, much as I might enjoy it; the idea is there, but the result is lacking. Septicflesh tends to produce an album that expands and breathes and they have most certainly done that here with The Great Mass.

Septicflesh makes use of everything they can get the Prague Philharmonic to do. The orchestrations are perfect for their style. It’s not the kind of orchestrating that would be expected from Bal-Sagoth or Turisas and the like—a style which is excellent, of course—but something more textural and more expressive of the actual live instruments. The music calls for more separation, a more impressionistic approach that is actually less saturated than it ends up sounding. For all their claims that they are different from the typical “film score” type of symphonic metal band, there are a lot of wonderful melodic and cinematic parts on The Great Mass.

The dynamics of this album, the balance of a lone female voice with the crush of low register death metal and an orchestra that sounds at times like the first breaths of a long-dead, reawakened behemoth and the growing tension of a creepy dream at others, are so deftly handled as to make it feel like something looming up over the trees. It’s the impression I get when listening to The Great Mass, and which helps to differentiate Septicflesh’s symphonic metal from that of their peers, that it sounds absolutely monstrous. It’s not that the music is always scary or that it is simply dark; there is just something of the sublime in it. As the treetops start to bend toward you and the thing that is this album comes into view it is pure exhilaration. Yes, it can probably kill you if you don’t get out of the way; but for that moment the sun is blotted out, you are feeling something stirring positive emotions within you, like standing outside admiring the beauty of an approaching lightning storm.

A fine mixture of melodic gothic metal and orchestrated death metal married to dark themes of occultism and mythology, The Great Mass promises to be one of the glowing gems of a year marked mostly by half-way offerings. The unquestionable strength of the single (and opening track), “The Vampire from Nazareth,” is a good indicator of what to expect.  “The Undead Keep Dreaming” is one of the more legitimately creepy metal songs I’ve heard in a while; but choosing highlights in this case is pointless. Each track is unique, well crafted, and fitted to its proper place in the frightful ceremony. Behold these mad architects of dark metal!

-Bryan A. Wysopal

Blut Aus Nord - "777 - Sect(s)" (2011) [Debemur Morti]

Really understanding the music of France’s Blut Aus Nord can take some time. If I say that 777- Sect(s) is a difficult album to get through in one sitting, it is not a complaint. Those familiar with the band will immediately recognize their trademark approach to black metal—a harnessing of dissonant chaos into some sort of listenable order—and surely be pleased. If after the first few tracks the uninitiated are bored or frightened, I recommend coming back to it fresh before passing judgment.

Though Blut Aus Nord is pretty much legendary, I was not as impressed with the rerelease of The Mystical Beast of Rebellion as I had expected to be based on all the noise made about it (it was my first Blut Aus Nord experience); but I didn’t dislike it either. There were memorable moments, particularly where things got demonic and where noiscapes and industrial/ambient element were used. Fortunately all of that is still present in this newest release and presented with a higher level of maturity and craft.

The album is comprised of six tracks all entitled “Epitome” (parts one through six) adding to the feeling that it is intended to be taken as a cohesive whole. Part one is mostly a speedy whirlwind of hellish melodies, as should be expected of the band, but it breaks down into a pleasantly unexpected outro consisting of groovy drums and ominous keyboards. Part two is quite different, far more melancholic and melodic than “demonic clown” sounding, and definitely a highlight on the album. It is in some ways similar to some of the more accessible elements found in “Chapter 7” of “The Fall” on the rerelease of Mystical Beast....

“Epitome 3” blends the vibes of parts one and two while “Epitome 4” kicks up the moodiness and groovy rhythms in a mighty composition of nearly twelve minutes in length. The final tracks follow suit and fit the vibe of the album perfectly. I won’t say more because I’m sure people are going to want to listen to it for themselves. But it’s strong to the end; no disappointment.

The great thing about this album is that it commanded my attention for much longer and for much better reasons than most of my previous experiences with the Blut Aus Nord. They are just so capable of composing using those grating, jarring and uncomfortable melodies they like in such a way that is entirely listenable. Wherever things seem to be utter nonsense, there is a creepy melody carried by the voice or other instrument floating on top of the churning mass, guiding the song and keeping a semblance of order.

Just as with my last Blut Aus Nord review, I am reminded once again of Doré’s engravings for Dante’s Il Purgatorio ed il Paradiso or Milton’s Paradise Lost when listening to 777 – Sect(s). Other times I just see the winding brimstone tunnels of a very orthodox Hell. Not a bad accomplishment in a scene over-saturated with that kind of imagery.

-Bryan A. Wysopal

Hat - "Vortex of Death (2011) [Abyss Records]

To begin, this bands name is a false friend: “hat” is Norwegian for “hate,” not a cognate for a thing you put on your head. It’s still a silly name for a band, though, especially at this stage in black metal’s existence. The Norwegian scene has been active for over twenty years now, so a name like “Hate” just looks like it belongs to a fourteen year old kid’s first “band” for which he draws “logos” in a notebook during biology class (and consequently misses any important information about genes that might save him from his half-baked opinions about the “Nordic race”).

I was skeptical but also intrigued upon receiving Hat’s newest full length, Vortex of Death, to review; but the artwork and packaging is really quite catching, and since the band doesn’t have an extensive discography consisting of splits and demos over the last few years, I decided to retain some of my initial optimism going in.

And behold! Despite the semi-silly name and the questionable originality of the decision to use “death” as a driving theme for an orthodox satanic black metal album, Vortex of Death really does stand on its own.

This album features, among other things, excellent use of soundclips including some from someone who just might be Sam Elliott (the Stranger from the Big Lebowski) in the first track. It sounds funny—and it is—but it’s also awesome.  The clips are processed and made to sound truly demonic throughout the song and placed with excellent taste. In other songs the soundclips are less original, focusing on torture and pain etc., but the places where they really add something make up for those moments.

Other things that Hat does well on this album include keys and “effects” that are also very well placed and which add something compositionally to the songs they are used in, and a mixture of catchy and melodic, almost “epic,” riffing. By the end Vortex of Death gets a little same-y, but it’s strong enough to warrant several listens through, and it stands up well after a few listens, too.

This album really is a good example of Norwegian black metal. Plenty of catchiness; plenty of satanic atmosphere—misanthropic and anti-life indeed. You can nod your head to this and it’s still grim, just like the best of the classic Norwegian scene.

-Bryan

Listen to Hat

Falkenbach - "Tiurida" (2011) [Napalm]

            For over five years after the release of Heralding: the Fireblade the mysterious hooded skald, Vratyas Vakyas, remained silent. Then, from somewhere in the wilderness, the deep, familiar voice of a battle-horn rang out and echoed off the cliffs once more, shaking the roots of the World Tree; Tiurida, “Glory,” colored its call and signaled the return of Falkenbach!

            Vratyas has certainly carved out an effective template for the folk-viking metal of Falkenbach. Each album is similar; the minimalist epic style provides for continuity across the catalog which can be built upon to whatever degree he feels necessary for each release. 2011’s Tiurida is familiar Falkenbach, rife with triplets and heavy hypnotic riffs, but with a fresh brightness about it. This brightness often goes under-represented, however, and as with all Falkebach albums, there are some depressingly weak moments scattered among the strong.

            The mood-setting “Intro” leads into the excellent “...Where His Ravens Fly...” This track plays upon the expectations of Falkenbach’s initiate but manages to sound fresh and exciting. The power from this track is somewhat lost on the following, “Time Between Dog and Wolf,” which is also similar to “Runes Shall You Know.” Both are catchy, but they lack a certain feeling of completion. It is important to be in the mood for minimalism when listening to them in order to get the right effect. In all, they are successful tracks with their individual strengths, but they may be the most stock-Falkenbach tracks of the album, lacking the interesting variations one might have come to expect, judging by Heralding: The Fireblade.

            Two of the highlights of the album are “Tanfana” and “In Flames.” Both display great examples of the bright, indeed glorious tendencies of the album. “Tanfana” is an instrumental that sounds like a happy feast of abundance; the trickling water in the end only completes the sense of verdant warmth. This track is also a bit more structurally complex which may be why some of the more repetitive songs feel incomplete in comparison. “In Flames” is not a musical tribute to the Swedish version of Chimaira, but another strong track which features a nice middle section that can only be described as “pretty.” Unfortunately this part only happens once and Vratyas sees fit to repeat the main sections for the remaining four minutes.

            The official final track “Sunnavend” is proper acoustic Falkenbach and harkens straight back to Ok Nefna Tysvar Ty. But that is one of the issues I have with it. Fine track though it is, I feel as if “Sunnavend” is a weak closer to the album, and this where my small rant begins...

            Those lucky enough to have purchased the digipack or any other special edition of Tiurida will be treated to a far more appropriate album closer than “Sunnavend.” Apparently reconstructed from the Læknishendr demo of 1995, “Asaland” is offered as a bonus track that buyers of the regular jewel case edition will sadly be denied. To me, this instrumental is the true ending to Tiurida. If not for lame marketing decisions, “Asaland” would provide the perfect degree of balancing brightness to the album and make it feel well rounded upon completion. Without this track fans are likely to be left wanting after “Sunnavend.”

            It is difficult not to compare Tiurida to its predecessor. Heralding: The Fireblade”, with its narrations and balance of repetition and variation, felt like a natural and dynamic product of years of development. Perhaps because it was intended to be released long ago, Vratyas seems to have really used his time to perfect his ideas for that album. It is, of course, imperfect but it leaves me feeling satisfied at the end (no doubt thanks to the brilliant closer “Skirnir.” Tiurida brings a number of fine new things to the table, many of which satisfy, but overall feels as if Vratyas focused on some areas more than others to such a noticeable degree that in certain places it is simply lacking.

            I am not terribly disappointed in Falkenbach or even in Tiurida but more in the fact of there being yet another album released in the last year-and-a-quarter that feels like an unfinished step in an interesting direction. I enjoy the album and believe that fans will, too; rejoice in the good bits, but be prepared to skip some tracks.

-Bryan A. Wysopal

Falkenbach Official MySpace

Chaos Moon - "The Ouroboros Worm" (2011) [Plastik Musik]

            The newest offering by America’s Chaos Moon, The Ouroboros Worm EP, is an interesting attempt at a sort of “progressive” style of black metal with hints of Blut Aus Nord’s discord and the ever popular “post” elements of the day. There is competence in all of the compositions on this recording, however, it must be said straightaway that the majority of the vocals are inferior to the music and do it little justice. Particularly, the clean vocals are troublesome. At times they can sound chaotic and frightening, though more often they sound off-key and almost comical in their attempts to appear “tortured.” Truly the effect is similar to the experience of listening to Tom G. Warrior’s stomach-ache-vocals on Celtic Frost’s classic Into the Pandemonium. Neither do the blackened vocals add much of anything to the music (though the lower growls are quite well done when layered with higher ones). There is a sense of wandering in the way the vocals are handled that is common to many DIY bands (I know I have been, and in many ways still am, fretting with that myself). Unfortunately it is problematic enough to be addressed right away.

            The vocals are certainly not Chaos Moon’s strong suit, but the music itself features several moments that will call the listener back for seconds. How memorable these tracks are will be a matter of personal taste, but there is clearly some understanding of musicality evident; at times what Chaos Moon is capable of is truly impressive. A variety of moods are accounted for throughout the course of this EP placing it a cut above the typical buzz-saw bedroom black metal so often marketed as “atmospheric.” Everything from discord to pleasant harmony, technical skill to effective simplicity, is here in this compact presentation.

            Perhaps my favorite tracks of all are the truly well done intro and outro, “The Worm Ouroboros,” (Head) and (Tail), respectively. These ambient tracks display true competence in exploiting different synth textures and playing with simple yet emotive melodic ideas. Both carry a more “accessible” and less dissonant feel than the metal tracks which can make them seem out of place but also add to the aforementioned scope of feelings. In many cases the “ambient” tracks on metal releases are skipped over (sacrilege, usually!) and perhaps stupidity here because those of The Ouroboros Worm are truly enjoyable.

            The Ouroboros is an exciting symbol that I personally have always found fascinating, so I was drawn to this recording based on the concept before I had any experience with the actual music. Whatever it is Chaos Moon is doing with the idea, though, I cannot really say. There does not seem to be any connection between the title and the pleasing Ouroboros-themed artwork to any of the music besides the first and last tracks on the EP. It is an interesting idea to play with the “full circle” symbolism of the Ouroboros by tying the EP together with two similar tracks of the same name, however. The remaining tracks seem to be feeling around near something thematically interesting but mostly the lyrics seem stock.

            In brief, Chaos Moon’s The Ouroboros Worm is certainly worth looking into for anyone interested in a more technical and speedy variety of atmospheric black metal. It is not completely perfect and it features a few glaring botch marks, mostly in the form of weird vocals, though it is otherwise interesting and enjoyable. For those unfamiliar with the band, this EP is a fine place to start as the material, though different in many ways, owns up to the standards of earlier releases. The vocals seem stranger and less well handled here perhaps because they are attempting to be a bit more complex than is generally the case with Chaos Moon. Still, here is a decent place to begin looking into a worthwhile USBM band.

-Bryan A. Wysopal

Stratovarius - "Elysium" (2011) [Armoury]

                Stratovarius is one of those bands for which I was a real fanatic in high school. Looking back, of course, there were plenty of lame songs and silly aspects to the band, but when they hit the spot they really hit it. During the time of my fanaticism, Timo Tolkki (then the “mastermind” behind the band) had slowly been succumbing to some sort of mental disorder / massive ego trip and was releasing not-so-great music. Stratovarius was dismissed, then called back again with the promise that the music would sound like “Pantera with keyboards” and be fronted by someone named “Miss K.” Needless to say, it was a strange time. As I was growing out of the “shredder worship” stage of my life I began to care less and less about the band (I do wish I had bought that t-shirt that said “I eat metal and shit chains” with the cartoon elk doing just that on it, though). I tossed in the towel with Stratovarius following the self-titled travesty of 2005.

            The respect I had for Tolkki has diminished, though he did provide a sort of “role-model” for me and he certainly does have some redeeming qualities. Today I am eager to say something I never thought I could allow myself even to think: Stratovarius is better off by far without him. 2009’s comeback Polaris was the beginning of a promising new era which I’ll admit I was not expecting and have little knowledge of to go by besides the singles. However, it was my great fortune to be given the opportunity to review 2011’s Elysium.

            Comparisons abounded in the early years of the last decade between Stratovarius and Symphony X. These were entirely bogus and based on nothing but the fact that both bands had a similar lineup structure. They were also curiously prophetic because this new incarnation of Stratovarius (featuring only vocalist Timo Kotipelto, keyboard wizard Jens Johansson and drummer Jörg Michael of the classic lineup) does sound a bit more like Symphony X in the heavy / riffy department. The pseudo-80’s rock vibe is still apparent on the new release but the compositions are more varied and heavy than in the past. Elysium is also melodic in an almost symphonic way without relying much on symphonic instrumentation.

            Since the departure of Tolkki, Stratovarius seems to have become free to apply their skills to writing songs rather than showing off. The album opens with “Darkest Hours” a fantastic sing-along power metal tune relying more on groove and melody than speed and showboating. The beauty of this song is that it is representative of the rest of the material. The attention given to this well crafted opener is obvious in the majority of the rest of the tracks. The elements of hugeness and depth are all presented here and are thankfully never scrapped.

            “Under Flaming Skies” follows suit with excellent use of melodic bells and a catchy but inspired sounding chorus. Here the use of the dreaded “Night / Light” rhyme is overshadowed by the tasteful and effective guitar solo provided by Matias Kupiainen. “Infernal Maze” begins sounding like it’s going to be a lame ballad but it takes on a nostalgic “Black Diamond” caste before long. It is not a bad song, but not quite on par with the fresh and inspired sound of the previous tracks, unfortunately. At least it proves that Jörg Michael is not the “drum machine” I once read him referred to as. Again, the huge, epic solo part saves this song half way through from being run-of-the-mill. Fortunately the ballad “Fairness Justified” is not entirely boring and features another well crafted chorus to lift it up above the mundane.

            Doing a track-by-track of Elysium would be pointless because not every song is on par with the others. In all, it is a promising album, not perfect, but featuring a lot of interesting and memorable moments. Stratovarius does a decent job mixing the pseudo-hair metal traits with the more interesting progressive / power ones and Kotipelto’s sometimes overbearing voice is generally restrained to a range that makes more sense for him. Jens uses a more varied synth palette than is usually expected and deviates from the typical saws and leads (though these are still in pleasing abundance), and the songs all seem to have been conceived with more concentration than in the past. Elysium, is definitely worth a listen for anyone already into this style of music and even those who did not much care for Stratovarius in the past. This new era is interesting enough to warrant a second listen.

-Bryan A. Wysopal

Blut Aus Nord - "The Mystical Beast of Rebellion" (2011) [Debemur Morti]

Before being handed Blut Aus Nord’s re-release of their acclaimed 2001 album The Mystical Beast of Rebellion I had no previous experience with the band’s music. I had heard the name and seen the CDs available, but had not yet listened. For me, the newer French scene (Alcest, Peste Noire etc.) is where my interest lies in regards to the music of that particular scene. The Mystical Beast of Rebellion has, for whatever reason, been chosen as a rerelease via Debemur Morti Productions with a supplementary second disc containing three tracks that comprise the seventh chapter of “The Fall” (chapters one through six comprising the track list of the original album) and new cover art.
Blut Aus Nord’s style on the original album (first disc) is good minimalist atmospheric black metal akin to Transylvanian Hunger era Darkthrone. The production lends itself well to the spirit being sought for the album and I rather enjoy its warm, sludgy fuzziness. The wall-of-sound achieved on this album is not done so much by layering as by production and allowing the guitars to breath noisily. The vocals have an eerie, lo-fi quality and are often set back in the mix while the music generally shifts between atonal dissonance and eerie, accessible melodies balanced by heavier Cletic Frost style riffing. A good example of the more dissonant elements is “Chapter III” with its tenseness and concluding metallic soundscape while “Chapter IV” gets a bit more melodic. “Chapter V” has some nice Hellhammer/early Celtic Frost style guitar bends and showcases some of the band’s heavier sensibilities.
In all, the original tracks of The Mystical Beast of Rebellion do a nice job keeping things interesting and flowing from start to finish, but I imagine most readers are more interested in what I have to say about the new supplemental material. The new tracks (all three parts of “Chapter VII”) bring something new to the table. Rather than rehashing the atmo-black feel of the original, Blut Aus Nord enters the realm of blackened doom where those elements of melody and weighty Celtic Frost inspired riffs come to the fore. Perhaps my favorite track of the entire package is the second of the new additions with its more accessible melody that has me seeing Doré engravings or Blake illuminations (as anything called “The Fall” probably should). I also enjoy the way the vocals sound like they are coming out of one of Dante’s levels of Hell (a clichéd description in black metal, but in this case they really do sound that way; kudos to the band). One of Blut Aus Nord’s strengths on this release is seeing the potential in making sparse vocals into an instrument of their own via interesting production. The final track, a nineteen minute crusher begins to lag a bit (proving that size isn’t everything), though the general ideas remain strong throughout.
I find that I enjoy this album, at least in the new presentation (as it is my first impression), but I don’t quite get what the big deal over it is. People seem to love it and Blut Aus Nord, but I can’t say it stands out as a very important atmospheric black metal release to me. I’m interested in listening to it again, and that is a good sign; it means something is calling me back to it, and that means I may come to really love it. At the moment, however, I find Blut Aus Nord’s stamp of blending of atonal and eerie music intriguing and commendable, and I am interested in hearing more of their albums, but I certainly was not floored by The Mystical Beast of Rebellion. This is one of those moments where I can only suggest listeners check it out for themselves. If you’re like me and you like atmo-black metal but have heard so much that it takes something special to make a release stand out, this is still worth the time, but it’s not necessarily spectacular. Otherwise, if you want visions of Pandæmonium and general Miltonic madness, you’re probably safe to stick with Emperor and the other greats.

-Bryan A. Wysopal

Elvenking - "Red Silent Tides" (2010) [AFM]

            

            The first three releases of Italy’s Elvenking are excellent. I noticed, however, a leaning toward accessibility on The Winter Wake in keeping with the period’s power metal trend of “finding the right melodies” and being altogether “heavier.” Though somewhat more straightforward than Wyrd I felt the album was a success and I looked forward to their next move. What seems to have happened, however, is one of folk metal’s most underrated bands gave up on their choice to follow a nearby path to the equally underappreciated Skyclad and attempted to blaze a new trail copying the least interesting elements of Children of Bodom (also a popular thing for European power metal bands to do at the time). The result was a lot of eye shadow, darker themes, and the album The Scythe. To this day I have little interest in that album in comparison to their other material. It is also difficult to feel the mood of dark themes about suicide et cetera from a band called Elvenking.

            In general the bands that chose to mime Children of Bodom did a fine job drawing influence from the music of the first three classic albums while simultaneously aping Bodom’s ridiculous subject matter and image. My complaint with Elvenking’s attempts at it was the apparent loss of most of the actual folk elements. After The Scythe, they went on to record an acoustic album, that seems to have fallen under everyone’s radar but which I am still eager to hear, entitled Two Tragedy Poets ...And a Caravan of Weird Figures. I hoped, then, they had returned to their original springs of inspiration and would put out another album as good as Heathenreel or Wyrd, but I was to be sorely disappointed by what came next.

            Genre blending is very much encouraged, but Elvenking cannot seem to decide if they are a folk metal band, a power metal band, a gothic metal band or a radio rock band. All of these things could work in theory, but between promotional images of them rocking out on stage like a popular metal band and dressing like mystical forest men it is difficult to grasp which rhetorical situation they are setting up. Their newest album, Red Silent Tides is a prime example of just how confusing things can get. The new album is not terrible; Elvenking did a fine job crafting the songs and performing them with passion and skill, they simply made an album that annoys me.

            It is the trademark of Red Silent Tides that a single song can be lame and awesome at the same time. “Dawnmelting” opens the album with promising strength that quickly dissolves with the Bon Jovi-esque first half of “The Last Hour.” The latter track kicks into gear (in a very nice early-Bodom way) at about two minutes and forty seconds, making me wonder how they managed it so successfully. At this point it’s clear that I just do not like the hair metal components of the song (and I do in fact like some hair metal, so it is not necessarily prejudice on my part), but this is to be the pattern for the rest of the album. Something about the way the majority of the album shifts between radio rock and seriously cool riffs and melodies while trying to convince me it is a soul searching record just does not feel genuine. Tracks like “Silence De Mort” and “Runereader” are pretty excellent most of the time, but are offset by irritating ones like “Possession” and “Those Days.” Somewhere along the way, it seems, Elvenking stopped writing thoughtful lyrics and started writing breakup songs.

            The majority of the strength of Red Silent Tides is in those moments in certain songs that are simply awesome. The choir part in “Runereader” and the synths and catchy fiddle-driven melodies of “The Cabal” (unfortunately countered by a chorus fit for a ditzy teen soap opera montage) are what I would not mind hearing more of from Elvenking; but they are sewn into a quilt comprised of some very faded patches.

            I might wake up tomorrow and decide the redeeming moments are enough to make me like this album, or I might continue to be annoyed by the way it excites and disappoints me at regular intervals. The first half is inconsistent and the second provides little to recommend itself. At the moment I’m enjoying the cover art most of all. What Elvenking has done on this album is reminiscent of power metal icon Tobias Sammet’s decisions to load 80’s pop rock into his music. Those who loved the early material of Edguy and Avantasia but found the later material lackluster will understand this connection when they hear Elvenking’s newest offering. Kudos for trying something new, though, I suppose.

-Bryan A. Wysopal

Official Elvenking Site

Bryan's Top 10 of 2010

“Top 10” lists are hard for me. I usually either cannot find 10 things to put on them, or can’t pick 10 from the giant selection available to me. I also generally don’t like to rate things, so I cheated and organized this list alphabetically! So the order in which the releases appear does not reflect how much I like one over another. In short, this is not a trve “Top 10” list. I’m following my own inclinations! So Kvlt...

1. Agalloch - “Marrow of The Spirit” [Profound Lore]

Like everyone here, I’m a huge Agalloch fan and I preordered this album as soon as I could. While I can’t call it my favorite of their releases, it is certainly a nice blending of the band’s previous work and some forward thinking experimentation. As always with Agalloch I find the artwork and the vibe of the music to be perfectly matched. I’m especially impressed by the band’s decision to go with a more raw production value (in many ways reminiscent of their demo recordings) when most bands continually look toward more polished production, even at the expense of atmosphere and character. My only real complaint with Marrow of the Spirit is that sometimes the acoustic guitars are noticeably out of tune, though it’s not much of a mar.

2. Alcest - “Ѐcailles de Lune” [Prophecy]

Obviously different than its classic predecessor, this album has gotten mixed reviews since its release early this year. I, of course, believe it to be excellent. The almost Amesoeurs-esque touch is matched nicely with the dreamy qualities of Alcest and the more “epic” elements sit very well with me for obvious reasons (to those who know me). Also for obvious reasons for those familiar with me and my own music, the all encompassing subject matter of the sea is exciting to me. Complaints of the album feeling disconnected or being too short do not resonate with me much, though, beautiful as it is, “Sur L’ocean Coleur de Fir” did come off as somewhat skeletal upon my first listen. Even “Abysses” has grown on me as a sort of segue though it seems to me it could easily have been attached as an intro or outro to another track. As with Agalloch, the artwork (provided by Fursy Teyssier) is perfect for the feel of the album and I am excited to see what both Neige and Fursy come up with in the future. Though the trends set in motion by these artists are quickly coming to be clichés, I still feel Neige and those in his circle are some of the truest artists of the day.

3. Blind Guardian - “At the Edge of Time” [Nuclear Blast]

Power metal is often given an undeserved smirk and shrug, but it is legitimate and real as any other form, and Blind Guardian have been proving it since the late 1980s. Anyone who denies that there is real passion in Blind Guardian’s world is denying themselves some of the best music ever to be made. At the Edge of Time is in many ways stronger on the whole than its admirable predecessor, A Twist in the Myth, and harkens back to all the ages of the band with a great mix of aggression, dynamics, melody and compositional talent. Each track on here could be played live right alongside any classic Blind Guardian tune and it’s a shame that they cannot simply play for 4 hours at a time. Only three tracks from this album were played live, and, awesome though they were, they were the most predictable ones. For more depth, see my review devoted to the album.

4. Burzum - “Belus” [Byelobog]

The world’s most famous musical murderous racist sociopath returned this year after a long bout of incarceration, but his creative edge had certainly not been damaged by his remarkably short stay in a high security Norwegian hotel. Varg’s creative impulses resonate with me in a way I would have found disturbing at age sixteen. Since getting over the darker facts of his life I have found a real artistic affinity with him and count Burzum as one of my favorite bands. His treatment of Nordic mythology shows genuine (if bigoted) interest beyond the prevailing “Thor told me to kill the bad guys” take on such themes. Also refreshing is the way in which Varg’s creative drive trumps his limitations in regards to equipment and resources. By not giving a damn about where his guitar was made (ironically for him, probably China) he connects directly to the art he’s creating. The only thing this album lacks is some keyboards, though the atmosphere is thick enough as it is. After two completely keyboard based albums, I guess Varg was just ready to get back to the metal aspects of Burzum—I mean “classical folk music with fuzz” elements.

5. Dimmu Borgir - “ABRAHADABRA” [Nuclear Blast]

My great liking for this album came as something of a pleasant surprise. I cannot add much to my “defense” of Dimmu beyond what’s present in my recently posted review of the album. So much artistic integrity is present here, and so much resonates with my own sensibilities that I cannot help but overlook the band’s more disappointing aspects. I suggest letting go of prejudices and just listening for this one. Then again, I’m into epic/orchestral music already...

6. Finntroll - “Nifelvind” [Century Media]

You say “cartoony” like it’s a bad thing. Finntroll has had far more of an effect on me than they have for others. Their mixture of epic folk black metal, goofy polka, and aggressive punk music was more than legitimate upon my first introduction to the band with their classic Jaktens Tid album. Trollhorn (Henri Sorvali of Moonsorrow) has become one of my favorite musicians and composers and I have no trouble mixing genuine awe with laughter when listening to his work. The way in which Finntroll handles goofiness is surprisingly serious, which is why Nifelvind is such a strong album. I greatly enjoy the darker Ur Jordens Djup album of 2007, but I felt it was lacking in the mix (where the hell are the keyboards Trollhorn was threatening John Williams with?). Those keyboards seem to all have landed on Nifelvind because it’s utterly huge. Marimbas and heavy brass compliment mighty guitars, and Vreth’s vocals, as always, destroy. Finntroll is definitely not the band for purists and people who need to prove to non-listeners that metal music isn’t fun. It is the result of a creative mind not caring what the naysayers want and painting with all the colors he has available.

7. James Horner - “Avatar OST” [Fox Music/Atlantic]

We are “eclectic” and “enlightened” listeners here, aren’t we? This music has no affiliation or connection with the metal world other than that it comes from a sci-fi fantasy film. Upon my first viewing of Avatar I was floored. It is especially nice when a movie you like has music you like just as much. I can attribute a lot of my interest in epic, orchestral, melodic music to themes from films that I was exposed to over the course of growing up. James Horner’s score for Avatar conveys the vibe of the film and stands on its own on record, too. Of course, the stock, overproduced ballad concluding the album is out of place and boring. But that is to be expected. Most film score albums are boring or embarrassing at times, anyway. My interest lies primarily in the use of standard orchestra, synthesizers, and world elements (like the pseudo-Native American/African voices) in the actual score. The themes from Avatar, though they may strike some as predictable, strike me just the right way. I enjoy and am inspired by this music a great deal.

8. Keep of Kalessin - “Reptilian” [Nuclear Blast]

Since Armada I’ve been a huge fan of Keep of Kalessin. I feel like Obsidian C. finally found the lineup he needed to set out creating absolutely epic thrashing melodic black metal with that album and the two follow-ups, Kolossus and Reptilian expand beautifully on the ideas expressed there. Keep is a perfect example of how to mix technicality, aggression, and beats per minute with actual musical ideas. Catchy riffs are colored with skillful “flash” that is actually part of the composition rather than just tossed in to show off, and that makes it all the more impressive. It slipped by me when I first discovered them, but Keep of Kalessin takes its name from one of my favorite fantasy book cycles, the Earthsea books, buy Ursula K. Le Guin. Very few people mention this when discussing the band but it adds a bit of a new dimension when listening to their music. Their obsession with dragons, when taken in that context (however loosely based on the book material the band actually is) comes off as far more exciting. Some have expressed distain for the track “The Dragontower,” but it seems to me that it only has to do with the fact that the band won some sort of fame in Norway for it (something unimportant dealing with stamps...). Personally I enjoy the song and attribute its lowered status to its rather groovy, unconventional feel. It is unsafe to turn me loose to describe why Keep of Kalessin is awesome. I’ll simply say, they have hooks and know how to use them. The uninitiated be prepared!

9. Melechesh - “The Epigenesis” [Nuclear Blast]

This album was in some ways a letdown for me. My first few listens were certainly influenced by my expectations and left me feeling as if I had been waiting for something that simply never happened. The chanting vocals and melodic intensity of Emissaries and Sphynx had me expecting more of the same from this album. Disconnecting myself from that a bit, I have come to really enjoy it for what it is. I admire and share Ashmedi’s intelligent approach to matters of the occult and mythological. The subject matter inspiring Melechesh is intensely interesting to me and I love to experience it through their music. What the band did as far as “jam sessions” on this album did not quite work for me. I very much enjoy the unconventionality of the opening track “Ghouls of Nineveh” and the expansion of the non-metal, middle-eastern compositions with traditional instruments etc. I felt the possibilities of the final track were somewhat lost in the meandering noodling, and when the album was described as being “varied” I had expected that each composition would be varied within itself. Instead, there are fast songs and slow songs and experimental songs and I feel like this is a step toward something else, but not quite the achievement. Still, the album makes my list of favorites of the year, which means I enjoy it well enough and am discovering more and more as I acclimate to the deviances from my expectations and sift out the gold I know is there.

10. The Vision Bleak - “Set Sail to Mystery” [Prophecy]

Ah, my first ever review for the Inarguable. Here is a band that does theatrical perfectly. With a 19th century visual aesthetic and themes of horror/sci-fi taken from literature and film (HP Lovecraft, etc.) The Vision Bleak do atmospheric gothic dark metal with expertise. In much the same way that the Misfits feel right at home in their look, sound and vibe, The Vision Bleak are untouchable in their field. Set Sail to Mystery comes on the heels of The Wolves Go Hunt Their Prey with a vengeance. While the previous album had some great moments on it, it simply was not as memorable as the preceding Carpathia and I was a little afraid that the band had lost their inspiration. But this year’s album proved me seriously wrong. The fact that they have not really done anything differently and still managed to pull off an album that is fresh from start to finish has me convinced that the fire is still burning hot. I am especially partial to the intro “A Curse of the Grandest Kind,” “A Romance with the Grave” and “The Outsider,” but the whole album is equally strong as these. In this case, buying the two disc special edition is worth it because the second disc comes with “classical” versions of some of the songs produced to sound like they are old gramophone recordings; truly eerie and cool.

Honorable Mentions:

The only reason these albums aren’t on the list is because they occurred to me after I had finished and because a list of 10 obviously cannot exceed 10 items. Think of this more as a “Top 12” with no ranking criteria whatsoever.

1. Lantlôs - “.neon” [Prophecy]

Pure brilliance

2. Fyrdsman - “Forgotten Beneath the Soil” EP [Mynydd Du]

Friggin’ awesome! An excellent taste of promising courses to come...


Happy New Year and happy Listening!

-Bryan A. Wysopal

Dimmu Borgir - "ABRAHADABRA" (2010) [Nuclear Blast]

            

            It is impossible these days to discuss Norway’s biggest mainstream export, Dimmu Borgir, in any context other than a defense or an outright attack. I, too, have felt the sting of more than one of my favorite bands (Dimmu included) rising from obscurity in the US to become the next hot topic at, well, Hot Topic. Who can forget the downfall (no pun intended) of Children of Bodom? Said blow was heartbreaking to me because, like many sixteen year old high school boys, Alexi Laiho was my hero (my sides are splitting with laughter at my own expense at this bit of nostalgia). Every day things happen to bands we all love that we recoil in terror from, yet have no control over. Much of this is due to equal parts selfish, introverted elitism on our parts, and legitimate, factual evidence of bands making it big, undoing their figurative flies and letting their figurative guts hang out. Experiential evidence has proven that many bands lose their creative edge after being assimilated into the mainstream. It’s also true that legions of a new kind of fan can run the old kind straight out of the park. But after a band becomes the flavor of the week, there is only one question that matters: do they retain their artistic integrity?

            I generally find myself agreeing with what most people have to say about Dimmu Borgir these days. They tend to make themselves look like idiots, even if in theory they have an exciting, high budget, dark gothic aesthetic. Case in point: Shagrath being injected with drugs in a hospital bed by a sexy nurse. Galder really does look and act like the bald vampire from the horrid 30 Days of Night movie (that one is actually my observation). Thematically and lyrically they are about as interesting as Children of Bodom, and even on their earlier, more respected albums, they tend to have a few flops for every one great song. It certainly is hard to take a black metal band that plays shows with Korn and has a Hot Topic edition of their newest album seriously. But, I’ve always called myself a Dimmu fan because, for the most part, they have not done anything artistically other than what seems to have always been their desire.

            My friends like to refer to Dimmu Borgir as “Star Wars metal.” To them it is an insult, but since I listen to far more “Star Wars-y” metal than Dimmu, and my own brainchild is a symphonic epic metal band, it is a perfectly honorific term by my standards. Dimmu is certainly not the first, nor can they be called the best symphonic metal band. As someone who lists Bal-Sagoth as one of their all time favorite bands, I feel qualified to judge how well Dimmu Borgir does epic. Fortunately, I am thoroughly impressed with their newest album, ABRAHADABRA. From the inspired and serious orchestrations to the atmospheric industrial elements, there is no sign of any of this being pulled off to make a buck. The voices and choir on this album are especially exciting, the throaty guttural drones in the album opener “Xibir,” come to mind, for example. Shagrath’s vocal performance itself is surprisingly laid back, which is something of a letdown because his voice is so very commanding. I was not too impressed with the guest female vocals on “Gateways” which I found irritating (as is the woman’s presence in the promotional video), but Snowy Shaw’s appearances are fantastic and blend beautifully with the overall atmosphere in a way that I dare to say is even better than the recently fired Vortex. “Gateways” on the whole is an impressive track, however, and not the only strong point the album has to offer.

            “Chess With the Abyss” is a powerful and rather unconventional rocking track with some huge strings and choirs, and the song I had the most doubts about, “Dimmu Borgir,” has become one of my favorites. In fact, it sounds a lot like something I would do myself. Of course the lyrics, evoking strange imagery of northern barbarians trick-or-treating, are as silly as might be expected from Dimmu. Indeed, the majority of the lyrics on ABRAHADABRA seem to center on a non-literal English idiom that Shagrath does not seem to understand is an idiom, and make much of “burning bridges.” Even tantalizing titles like “A Jewel Traced Through Coal” lead to tracks which feature largely incomprehensible lyrics dealing with the typical Dimmu subject matter of “them and their lies etc.” Equally confusing is the choice of the evocative title, “The Demiurge Molecule,” once again prompting questions of the extent to which the band understand the words they are using. Fortunately, nitpicking about the lyrics aside, the strength of the album is little affected by them. The choirs chanting the album title in the closing track “Endings and Continuations” send shivers down my spine and the proggy freshness of the track calls to mind Symphony X in a most positive way.

            Not everything Dimmu Borgir does is interesting to me, even if it seems like something I would be into. I sold Puritanical Euphoric Misanthropia after a few listens even though there were some good ideas on it, in theory. I was ashamed with their decision to re-record Stormblåst, and equally bothered by the revelation that they had stolen music for the original. Admittedly, I avoided In Sorte Diaboli, influenced by the “sellout” stigma as much as anyone else. To this day I have never listened to it beyond the single/video tracks, and I just may never bother with it, because its successor is far more interesting to me at the moment.

            For those still worried about Dimmu’s mainstream position, let’s not forget the fact that numerous metal icons have crossed over into the mainstream and still retain their status. Bands like Megadeth and Slayer are revered by metalheads everywhere, yet they are all over Hot Topic and Ozzfest. Their stickers are peeling off of pickup trucks from Florida to Alaska and they share every aspect of their existence with mainstream acts like Lamb of God et al. Iron Maiden has risen to be one of the most prominent metal bands the world has ever seen; yet calling them sellouts would constitute heresy even though their shirts are available at Kohls. The degree to which Maiden retain their integrity is debatable on an individual level, yet there is something more than just the fact that they are metal icons keeping them in the true metal pantheon. I can’t say I much care for some of the new Iron Maiden material, but I can’t call it “selling out” because it sounds like they put their hearts into it. Likewise, there is nothing on the musical level that suggests ABRAHADABRA is an example of Dimmu Borgir looking to sell the gum on the bottoms of their shoes. The music is inspired, strong, not in the least watered down and there are no filler tracks. The band’s choice to have a theatrical appearance is apt for their artistic vision and using that as a card against them carries no true critical weight. I encourage disenchanted fans to try to give ABRAHADABRA an unbiased listen; they may be greatly rewarded, as I was.

-Bryan A. Wysopal

Blind Guardian - "At the Edge of Time" (2010) [Nuclear Blast]

            

            After presumably being shipped to me via a very fat, lazy man riding a very old, lazy donkey, the new Blind Guardian album arrived in the mail. Finally, the torturous wait was ended! I could now immerse myself in the newest offering of one of my all time favorite bands! And the wait was worth it.

            Blind Guardian’s 2002 masterpiece, A Night at the Opera, left fans wondering if what came next could possibly compare. But fans should have known that if that album followed the legendary Nightfall in Middle-Earth which followed the amazing Imaginations from the Other Side which followed... well, you get it; the band is pretty much incapable of putting out an album that doesn’t stand on its own. In short, 2006 saw the release of A Twist in the Myth, which, though it lacks some of the over-the-top elements that made A Night at the Opera literally feel like you spent big bucks, dressed up, and arrived at some gilded concert hall in a stagecoach, still contains immense doses of Blind Guardian style epic. And now, four years after, At The Edge of Time proves that the band still has it.

            The album begins with “Sacred Worlds,” a song made in connection with the fantasy video game Sacred 2: Fallen Angel. This track features some great orchestrations, a killer chorus, and also happens to be about nine wonderful minutes long—a great opener for pulling the listener directly into the Blind Guardian world. Following on its heels is the rocking “Tanelorn (Into the Void),” a nice throwback to their earlier sound (ironic since their 1992 album Somewhere Far Beyond featured “The Quest for Tanelorn”). This track is another fine example of the blending of power/thrash and catchy sing-along rock that the band has always been known for.

            Admittedly, it took two listens for me to realize just how awesome this album really is. The only weakness I can find is “Ride into Obsession.” Not that the song doesn’t sound like they put their hearts into it, it simply doesn’t feel like it completely gels. Fortunately, it comes right before the amazing “Curse My Name,” a track that is destined to be a new classic. It has the potential to be the song the audience sings entirely while Hansi looks on approvingly (like during “The Bard’s Song” on the Imaginations through the Looking-glass DVD). In fact, the same can be said for the following tracks, straight through to the end of the album. When sung by fans at a show, the chorus to “Valkyries” just might cause the venue to collapse, and it doesn’t stop there. “Control the Divine” is pure, new-school Blind Guardian magic. “War of the Thrones,” like “Curse My Name,” is a majestic, orchestrated, folky sing-a-long, perhaps one of the best the band has ever written (it’s also inspired by acclaimed fantasy author George R.R. Martin). And the album finishes off with “A Voice in the Dark” and “Wheel of Time,” (of course, referring to another acclaimed fantasy author, Robert Jordan) the former proving that there is no such thing as a run-of-the-mill Blind Guardian single, and the latter, with its eastern influences and large orchestrations, ending the album in much the same spirit as it started.

            By now it must be obvious that I am a screaming Blind Guardian fan. But anyone that knows me knows I won’t get this excited with an album just because whoever made it has made some of my favorite albums in the past. I’d sooner say “meh” and move on rather than force myself to like something I don’t. That said, At the Edge of Time is true Blind Guardian, through and through; and anyone who has enjoyed their work in the past, particularly from Nightfall... on is sure to feel much the same. If A Twist in the Myth didn’t feel quite right at times, this album makes up for it, with a vengeance. Now to sit patiently and await that orchestral project the band has been talking about for so long...

-Bryan A. Wysopal

Official Blind Guardian Homepage

Official Blind Guardian MySpace

Fyrdsman - "Forgotten Beneath the Soil" (2010) [Mynydd Du Records]

            There has been a lot going on in the UK underground recently. Winterfylleth, Wodensthrone and Fen have taken the folk/black metal scene by storm and a slew of notable bands have cropped up all over the region. Enter Fyrdsman, a one man, melodic pagan black metal band founded by Tim Shaw (ex-Alestorm, briefly) and a force to be reckoned with.

            I am a firm believer in not straining to make a “full length” or an “LP” if there just is not enough quality material readily at hand. EPs and MCDs are perfectly legitimate by my standards so long as they are well wrought and represent a complete work or idea. Fyrdsman’s debut EP Forgotten Beneath the Soil illustrates the validity of my stance perfectly: four tracks, three originals, one cover, and Twenty-some minutes of fitting, flowing concise work.

            Epic keyboards and tight guitars over excellent sounding programmed drums characterize this self-produced recording in which the only conceivable downside might be the occasionally under-mixed vocal part. This issue (common in self produced music) does not detract from the experience in the least it simply makes the wonderful clean harmonies a bit tough to hear at times.

            The opening title track starts appropriately with furious energy. One serious hook after another keeps this track exciting the whole way through. In the middle, the song breaks down into an almost shoegazey, densely layered interlude, reminiscent of the likes of Alcest, then breaks into a simple but very effective melodic guitar solo. In fact, Shaw’s tasteful guitar work is one of the delights of this recording that turns up again and again.

            After the mighty opening title track concludes, the haunting “Demonised in a Disgraced Land” begins. This track seamlessly shifts from dark and brooding to contemplative and almost mystical throughout. Mid-paced and full of great melodies and instrumentation (the harp, for instance) this song brings me right to the lichen-covered rock depicted on the cover of the EP.

            The last original track on the EP, the dreamy “Survival,” opens with calm synths and features more emotive guitar leads, shoegazey moments and rich voice harmonies. The dense atmosphere this song evokes is easy to get lost in, and the seven minutes are up in a heartbeat. Concluding the EP is a cover of “Natural Chaos” by Forefather, which I enjoy, even having never heard the band before. As it is a quick song, it fits perfectly onto the EP without stealing any thunder from the original material.

            Forgotten Beneath the Soil is one of this year’s hidden gems. Fyrdsman flawlessly mixes epic and atmospheric metal into a concise debut record worthy to be labeled some of the best from the new English scene. The future looks promising! Hwæt!

-Bryan A. Wysopal

Fyrdsman Official MySpace

Buy Forgotten Beneath the Soil