Nechochwen Shares First New Single in 8 Years – “Kanawha Black”

West Virginia’s Black Metal legends Nechochwen have returned with their first new song in eight long years, since the release of their acclaimed Heart of Akamon album, besides a split with their local brethren Panopticon. “Kanawha Black” is the title track of the bands’ upcoming new album, due for release worldwide by Bindrune Recordings in the spring of 2022! The tittle references the geology local to West Virginia. The band was also added to Fire In The Mountains Festival 2022 and they will likely add more tour date sand rituals soon. Jam it out now and check out this cool lyric video the band also released.

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Fire In The Mountains Festival Adds Final Bands for 2022


Curated by Ivar Bjørnson of Enslaved, has booked its final bands for the 2022 festival! The fully immersive music, art, and wilderness festival will take place July 22-24 at Heart Six Ranch in the Teton Wilderness of Wyoming. Joining the bill are:

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Bindrune Recordings Signs Eave, Announces New Distro Deal with Season of Mist

Bindrune Recordings, one of the best labels for underground music for 20 years has signed Maine’s atmospheric post-Black Metal band Eave to a new deal. Their new album Phantoms Made Permanent, is coming in 2020. The label has also announced a new distribution deal in Europe with Season of Mist. The partnership begins with three albums including the new Obsidian Tongue album! Continue reading

Nechochwen – Heart of Akamon


Nechochwen are classified as Folk Metal, but whereas most music in that genre is inspired by Celtic or Nordic heritage, this band finds its themes in Native American heritage. Heart of Akamon (Bindrune/Eihwaz) is their third record.

‘The Serpent Tradition’, the opening song of this album, immediately showcases the folk and the metal that are combined in this band. The acoustic guitars sound magical, and while the switch from heavy to soft was abrupt, the build back into heavy is very well done. The clean vocals are beautiful, as are the acoustic guitar pieces intermingled with the metal riffs, and there is a lot of variation. However, the end is once again rather abrupt.

The more acoustic-centred songs such as ‘The Impending Winter’, ‘October 6, 1813’, and the guitar section in ‘Traversing the Shades of Death’ are really well crafted and unique, while the metal sections and songs, such as ‘Skyhook’, are good but not truly remarkable.

The musical highlight of this album, however, is the instrumental ‘Kišelamakong’. It is a beautiful composition.

One point that this band could improve upon is cohesion. There is a bit too much of a split between folk and metal, and while ‘The Serpent Tradition’ for instance has sections where they blend together perfectly, this does not happen often or fluently enough on other parts of the album. Additionally, the switches between loud and gentle are at times too abrupt, while being very organic at other points. While each individual section is very good, the changes in speed in the introduction of ‘Škimota’ aren’t great. The addition of the drums helps keep the following variations together.

Finding a balance throughout the songs or even the entire album would make a massive difference. Still, there are a lot of excellent pieces of music and it is certainly an album worth listening to.