Hexvessel – When We Are Death

Posted on February 12, 2016 by News Team

Even in this musically idiosyncratic world of genres, sub-genres, tribes, sub-tribes and singleton geniuses, the desire for Finnish psychedelic folk rock may not have been top of your musical shopping list. You should change that forthwith now that Hexvessel’s third album, the striking When We Are Death (Century Media), has arrived for our collective delectation.

Four years ago, their second album, No Holier Temple was a curious and often compelling blend of Woods of Ypres inspired atmospherics, Opeth tinged acoustics and an obvious and deep-seated love of drug influenced 60s and 70s rock, particularly that made by Mr. Jim Morrison and his partners in crime in The Doors.

No Holier Temple was about the trip and the mood; it was inviting and beguiling. By contrast, When We Are Death initially appears as a straightforward folk rock record. Before you jump to a logical conclusion that they have thrown the baby out with the Finnish bathwater, hold your psychedelic horses. The band’s love of psychedelia remains resolutely intact: when you have songs called Drugged Up On the Universe and Mushroom Spirit Doors it is fairly self-evident how the band spend part of their leisure time but there is also a much more deliberate attention to song structure and that oft-ignored discipline of the tune in distinct evidence here. Have a listen, for example to the sparky, keyboard soaked friskiness of When I Am Dead or the smoky jazz backdrop of the reflective and melancholic Mirror Boy and you’ll immediately understand what I’m getting at.

At the heart of this collective endeavour is the vocal prowess of British born Mat McNerney who has a fragility and emotional heft to his voice that does three things particularly well. First: it brings an authenticity to the songs that cuts through with striking immediacy. Second: as narrator, his range is never overbearing nor irritating. Third: he does the best Jim Morrison you’ve heard in ages. Oh and, yes, this is the same Mat from Beastmilk, by the way.

Hexvessel are an intoxicating proposition. They are not, repeat, not, a heavy metal band. Not in the stereotypical sense of the phrase anyway.However, Hexvessel share some of the same qualities and attitude that underscores the metal aesthetic. This is a record is a record of charm and wit and invention. It is a record that is warm and inviting and, being released in the depths of winter, you cannot say any fairer than that. So we won’t.

7.0/10

MAT DAVIES

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Gothic Tales – Esa Holopainen of Amorphis (Part II)

Posted on September 2, 2015 by Steve Tovey

Amorphis, photo credit by Ville Juurikkala

The mid-to-late 90’s bore witness to a phenomenon in underground metal. If the UK with Napalm Death et al had been the birth place of death metal, a sound that travelled the big blue to the States to be forged into the beast we know today, then the British Isles was once again the location for the conception of one of the most influential albums for a new sub-genre that, while it didn’t infect the American sound, instead traversed east rather than west and took Europe by storm, giving birth to the eponymous “Gothic” Metal.

Paradise Lost’s Gothic (Peaceville) wasn’t just a landmark, it was an album that tolled a massive bell with eager, willing and creative minds and created the landscape for the mid-to-late 90’s in underground metal. Last year saw the twentieth anniversary of Amorphis’ Tales From The Thousand Lakes, an album that was to develop that blueprint and take it in a different direction, the Finns being one of the first to fuse death and doom with folk-inspired melodies, clean vocals and progressive 70’s influenced music. But without Gothic, and it’s ground-breaking innovation, bringing in female vocals, orchestral manoeuvres (most probably in the dark, yes) and haunting melodic leads over doomier death metal, …Thousand Lakes may not have turned out the way it did.

“It was probably one the most influential albums for Amorphis in the early days, yes” agrees Amorphis lifer, Esa Holopainen, the six-stringer responsible for creating the Finns classic early release. “Paradise Lost started the way of combining melody lines into death metal music, with a doom ensemble. That then started to influence a lot of bands.

“It’s funny, because, you see in the longer term bands, there’s a lot of bands, like Moonspell – I just heard their new album – bands start to look back at where they came from and their past”. Even Paradise Lost themselves… “Yes. Everyone is starting to walk the circle around and taking more and more influences from their roots, which is a really good thing.”

When Holopainen was taking inspiration from Gothic and crafting the two albums that really put Amorphis on the map …Thousand Lakes and the follow up, Elegy (both Relapse), it was in the midst of an explosion of creative excellence that flooded through Europe.

“The period of time was when little underground labels started to grow up with their bands, and bands were releasing their classic albums. In the 90’s a lot of classic albums and a lot of albums that became milestones to those bands were made, and that influenced other bands. It’s pretty amazing, but look back at how many great metal albums there were (at that time)!

“There hasn’t been another era after that since then that’s matched it for so many good albums. I don’t know why.

“A lot of bands at that time, when we did those albums, proved to be a platform for the metal scene to be able to explore what we were doing, but much wider. Since then there’s been more and more new bands (influenced by the European metal albums of the 90s); heavy metal became almost trendy over here in Finland when Lordi won the Eurovision and even grandmothers were listening to metal, and those albums of the 90’s were the platform for the next wave of bands.

“You see Nuclear Blast who weren’t so big then are now probably the biggest label out there, selling as much as some major (labels); it’s pretty amazing how it’s all grown.”

Amorphis, photo credit by Ville Juurikkala

While Paradise Lost may have opened Pandora’s Box, Holopainen’s Amorphis were one of the first bands to stick their heads deep into its recesses and really find freedom in the possibilities. Their debut The Karellian Isthmus (also Relapse) had been a decent, Scandinavian death metal album, but they then took the bold step to incorporate doomier riffs, clean vocals, folk music, keyboards and take influence from Deep Purple, Rainbow and other more retrospective elements.

“At that time we were huge fans of 70’s rock bands. In Finland there were a lot of progressive rock bands who were incorporating traditional and folk music, and we were listening to things like Jethro Tull and Hawkwind, lots of hippy music we liked!

“The big thing was, we felt there were no limits when we were writing the music for …Thousand Lakes – there were some really strange arrangements in there! We had a keyboard player, Kasper, who came into the band and he’d never played in a metal band, he was totally into The Doors and playing those types of songs. He was so excited when he realized there was a mini-moog in Sunlight Studios and, naturally, he wanted to use that a lot.

“All that mixture of things, all that soup, became the Amorphis sound.”

Happy to talk about their prestigious history, and their first landmark album, Holopainen continues. “We didn’t have a big plan, we were just doing the album how we wanted, until Tomas the producer asked “Does your record company know what you’re doing?” He was afraid they weren’t going to like it because it was so different! We just thought “OH SHIT!” but carried on.

“Then we started to get praise and good critics for it, and it was a success. It was kind of, but not by accident, but it came by following our instincts and being ambitious with what we wanted to do.”

Did you realize at time how ground-breaking it was? When did it sink in that it was a “classic”?

“It came as surprise how popular that album became. It took many many years before we realized how important an album it actually was. Even just a couple of years ago, we were only just realizing it must have been a really influential album because you read interviews from other bands that they say …Thousand Lakes was influential for them.

“At the time there was no black metal scene, it was just bubbling under, and no folk metal at all; that was many years later with bands like Ensiferum, and they say our albums were very influential for them.

“That is the greatest feedback you can get as a musician that you actually influenced other musicians to make their bands”

The second Amorphis classic was to follow two years later, as the sound evolved and deathly chugs were replaced with a much more progressive and folk-tinged rock bent, power chords replaced with open strings, and the timeless Elegy was created, an album most definitely not better unborn.

2016 sees Paradise Lost bringing Gothic back to life on stage at Roadburn, and following the success of both 2014’s tour and Amorphis’ spot at Maryland Deathfest playing …Thousand Lakes’ shows, could we see a twentieth anniversary celebration for Elegy?

“It’s not an impossible idea. We had a good time doing the Tales… shows, and the good thing about production now is we know how to get these sounds and make these things work. One of the great things of Amorphis is we can do different products – we did an acoustic tour – and we like to challenge ourselves and do something different.

“Elegy, for me, is my favourite album of the earlier Amorphis times and it’s not an impossible idea that we can do an Elegy tour.”

Under The Red Cloud is out on September 4th via Nuclear Blast. Order here.

STEVE TOVEY

Brother/Ghost – Buried

Posted on June 18, 2015 by Steve Tovey

Everything about Buried (Shelsmusic/I.Corrupt), the debut full-length from Texan trio Brother/Ghost, shook me to the core before I’d even heard it; some websites even likening their sound to Folk and Country rock. The song titles were stark enough to make me wonder, and the reality here is indeed very different.

The initial strains see Death in Vegas-style atmospherics blend with the catchy melodies of 90s Indie-pop outfit New Radicals, slowed by a brick on the turntable and oft decorated with crushing riffs and pummeling drums, as with opener ‘Satan’. The real magnetism in these early stages, however, is the harrowing melancholy of the lyrics and the delivery of co-vocalist Colby Faulkner James; the maudlin tunefulness counteracting the tortuously slow execution. ‘Cripple’s utterly depressing tale is delivered from the back of a giant snail by James’s mellifluous tones, beautiful yet heartbreaking, the harshness increasing with the building riff and roared coda.

The ensuing ‘Causeway’ is a similar story; a painfully sad trawl through a melodic lament, James’s voice and the teardrops of a Fender Rhodes dripped like barbed honey into the soul. Exemplifying some of the most delicate Doom music of recent times, ‘Freedom’s twisty bass riff snakes through a jangling lead and strange drum pattern, the slight lift in pace only mildly alleviating the bitter misery disguised by those deceptively spiteful vocals: sometimes hushed and calm, occasionally soaring like a wounded eagle, once breaking with raw emotion.

Despite the overriding disconsolation, this is a strangely uplifting sound…until the invitation to wrist-slitting that is ‘Pendulum’. When co-vocalist W.S. Dowdy’s throat reaches for doleful bass notes, you’ll realise just how the spirit of David Gold courses through this album. Incredibly, more honest, gut-wrenching emotion bleeds from ten seconds of this track than any effort from the late, legendary Woods of Ypres mainman; the chopping, swinging riff embodying the title, the closing momentum a staggeringly affecting slowness. Closer ‘Blackdog’, meanwhile, is initially layered with lush synths which cheapen the tired, almost inebriated voice. The ensuing swell, however, is the aural depiction of depression with riffs squirming through oscillating sound effects and lyrics such as “Toothless mouths full of doom and god” fully depicting the near-apathetic despair underpinning the whole set.

It’s a curious affair this, blending easy listening with pulverising power and the most emotionally disturbing sadness; bewitching, bitter, traumatic yet compelling, and well worth the many listens it will take to control your brain. Those of us who have experienced this level of darkness will either find it too painful to reach the end of this captivating offering, or fully wallow in its exquisite tragedy.

8.5/10

Brother/Ghost on Facebook

PAUL QUINN

Galley Beggar – Silence and Tears

Posted on May 12, 2015 by Steve Tovey

Galley Beggar is an English Folk Rock band who combines traditional songs with a modern Psychedelic sound. This sextet proves that the genre of Folk is still very much alive and kicking, and thrives on musical innovations.

As the title suggests, Silence and Tears (Rise Above) is quite a melancholic album. While this is generally not an issue, I did find the lyrics in ‘Adam and Eve’ to be a bit off-putting… I guess a bitter and judgemental Adam complaining to God how everything was Eve’s fault isn’t really my style. Musically, however, this is an excellent song which shows off the beautiful combinations of acoustic guitar, bass and violin, as well as the dominant female vocals. Another song where the vocals are really powerful is ‘Empty Sky’. The contrast with mellow violins and the excellent bass lines makes the song very dynamic.

The vocals on ‘Pay my Body Home’ are also really good: they are not so much main and backing vocals as dual leads, with another line on guitar. The guitars sound very distant, and the overall vibe of the song is very mellow. However, the best vocal combinations on this album are in ‘Deliver Him’, where the arrangements are almost overwhelmingly beautiful.

The guitars on ‘Sanctuary Song’ are dance effectively, and it is certainly my favourite song of the album. While it still has a touch of that melancholy that infuses this album, the lines of the guitars also have the sound of hope and a hint of cheerfulness.

Galley Beggar is helping folk music evolve and Silence and Tears may well be a crucial step in that evolution. It certainly is a very interesting one.

7.5/10

Galley Beggar on Facebook

LORRAINE LYSEN

The Gentle Storm – The Diary

Posted on March 31, 2015 by Steve Tovey

Rather like the proverbial Pavlovian dog, the announcement that Anneke van Giersbergen has new material out sends certain quarters of the musical fraternity into paroxysms of delight. The news that she has decided to join forces with Dutch musical workaholic Arjen Lucassen will have doubtless had the already converted salivating uncontrollably.

The resultant new album, the 22 song strong opus that is The Diary (InsideOut) is a fascinating and diverting experience. Set against a narrative background that concerns itself with two 17th century star crossed lovers who, after fate separates them, communicate to each other through written correspondence, regaling the story of her pregnancy; exotic tales of our male protagonist’s travels; the birth of the couple’s son and the initially unknown, tragic illness of our heroine. It is a classic tale of love lost, romantically bittersweet and entirely apposite for setting to this type of progressive music.

The entire project is delivered in two separate styles: Gentle, a full length and full on concept record, orchestral in scope and delivery and Storm, a more progressive rock experience. You get the same story, set to quite different stylistic soundtracks. Gentle: a combination of folk, Prog and neo-classical is the more superior of the two records; the concept execution is more coherent, the musical narrative more subtle and sweeps the listener along in a diverting but never intrusive manner.

The flip side of Gentle: the appositely named Storm, takes us through the tale of our lovers once more and ups the musical ante. For a record that is meant to be more dynamic and immediate than its Gentle cousin, I found Storm to be oddly flat. There’s the almost de rigeur use of a choir here, the heavy, metal inspired guitar flourishes there, and the soaring vocals well, everywhere.

And herein lies the rub. Finding fault with The Diary is difficult. The musicianship is exemplary, the vocals really quite brilliant and the production truly exceptional. The story, as it goes, is fine, if you want a bit of 17th century Dutch tragedy. There is no doubt that The Diary is impressive; however, I can’t help but feel that I admire it more than I actually love it. I’ve spent time enough to reach a judgement and, whilst I can-and-am impressed by the diversity of instruments utilised, I don’t warm to all of the compositions here as much as I hoped I would.

Whilst there is a certain charm to, for example, ‘Heart of Amsterdam’, the entire edifice depends on whether or not you actually care that deeply about this story and, whilst it’s charming enough, it doesn’t grip, vice-like. As a consequence, nothing here really offends but nothing breaks your heart in the way that you hope or, indeed, in the way that you know Van Giersbergen can with her brilliant, evocative voice.

Some of the melodies whilst structurally sound just don’t sound that memorable to me: it’s all very nice, for sure, and very nicely done, but I didn’t get that hairs standing up on the back of my neck feeling that you always get with true greatness. Regrettably, in evoking the sense of time and place of the story admirably, the music is somehow hamstrung by it as this often sounds like a soundtrack to a television costume drama. Not that there’s anything wrong with a television costume drama, you understand, it’s just not exactly what I reach for when looking for my next listening pleasure.

I know that many people are going to fall over themselves for this record and, fair play to them: each to their own. However, where I had been expecting a progressive storm, I’m left feeling, gently, disappointed.

6.5/10

The Gentle Storm on Facebook

MAT DAVIES

Darkher – The Kingdom Field

Posted on December 18, 2014 by Steve Tovey

The west Yorkshire idyll of Hebden Bridge was on the news a few years ago, highlighted as the lesbian capital of the UK – an unexpectedly contemporary claim to fame for such a quaint, old fashioned town. For the area to produce such explosive, edgy, mournful, and downright fucking sexy folk-rock as this EP from local troubador Jayn Hanna Wissenberg, aka Darkher, is also something of a surprise.

Before The Kingdom Field (Self-released/Independent) arrived in my inbox, I checked some more stripped-down material on YouTube and subsequently asked myself, “Why the hell have we got this?” Within seconds of the breathy, siren-like beginning, I had my answer: the cello. Rasping, calling like a spectre from the sea, it slices through the prickling folk lilt, giving the haunting rhapsody an, albeit brief, violent edge which kicked this listener square in the bollocks. That’s aside, of course, from the eerily beautiful, heart-breaking melody of Wissenberg’s voice, and the sparing guitar slicing through the atmospherics like a primal roar in a desolate field. The judiciously introduced drums of opener ‘Ghost Tears’ accentuate the chilling tambourine with a fearful ease; the whole evoking one of the jerking undead coming for vengeance in a classic horror. Yeah, it’s that good.

The gently-picked acoustic of ‘Hung’ underpins the unbearable hurt in the mellifluous vocal before more cello strains take us to within an inch of sinister euphoria. It’s the ensuing ‘Foregone’ however, where the rock edge really explode with a resonant riff constantly threatening to blow yet always holding back, whilst the drums swell then recede to a seductive, heartfelt sway in a ‘Polly Jean Harvey goes all melodic doom’ style claustrophobia. Look, there is a strong argument as to whether this should really be here on Ghost Cult or not but, basically, this is Myrkur for the ‘Folkies; a haunting, beautiful, teeth-edging horror and it’s utterly brilliant.

Bring me an album, now.

9.0/10

Darkher on Facebook