Varmia is a tough nut to crack, but that might be the point: nie nas widzę (M-Theory Audio) is the fourth piece to the Polish pagans’ puzzle and it introduces a plethora of both traditional ethnic musical elements and standard-sounding black metal techniques.
Colorado’s The Flight of Sleipnir has maintained a consistent but eclectic sound for nearly fifteen years, mixing Doom and Atmospheric Black Metal with elements of Folk and Prog Rock in a way that should sit well with fans of Agalloch. Their seventh album mostly adheres to this genre blend and boasts the fuller production that was last seen on 2017’s Skadi. However, Eventide (Eisenwald) manages to tweak the formula as those Blackened elements seem to be upfront than before.
The most interesting bands are not the ones that come out of the box ready made to ingest. The best shift like a sea at storm, creating and destroying, adding and taking back what it wants. Downfall of Gaia too has continued to adapt and improve, pushing themselves and everything else outward with every release. After a few years absence, the band has returned again with their new album, once again aiming high as they can. Continue reading
Seven days into 2019 and I had my first of many shows for the year. The “Two Paths” Tour with Ensiferum, Septicflesh, and Arsis. When this tour got announced, I immediately got excited, as Arsis is always a good time and I just saw them a few months prior on the Bloodletting Tour back in October. Septicflesh has always been one of those bands that I love but never actively think about, but they are always a band that I could sit and listen to for hours. Ensiferum is just an all around good time. That being said, this tour is also a bit of a mixed bag of styles, Arsis is a band that used to regularly tour with the likes of Cattle Decapitation, Dying Fetus, and Misery Index. So seeing them on a tour bill with Greek Symphonic Death Metal (Septicflesh) and Finnish Folk Metal (Ensiferum), I knew this was going to be an interesting and worthwhile show… so let’s jump right into this bad Larry!Continue reading
Finnish folk metallers Korpiklaani are readying their new album, Kulkija due out on September 7th via Nuclear Blast Records. The band just announced a long-anticipated return to the USA, with support form Arkona on all dates. To get you pumped for the new album, watch another album teaser trailer below. Continue reading
In the arena of folk and pagan influenced metal, which is often (and at times unfairly) thought of as pure silliness, drinking and near cartoonish portrayals, Dutch Folk Metallers Heidevolk have always been a consistently decent outfit, but one that has never reached the mainstream dabblings of a Turisas. Perhaps this is, in part, due to their more balanced take on the genre which sits between the fun-loving, grandiose approach, thoroughbred Heavy Metal grit and a more intelligent, nuanced side; Heidevolk is a name yet to progress beyond the most ardent of Folk Metal fan-bases only.Continue reading
Folk metal leaders of Finland, Korpiklaani have released a new lyric video for their track ‘FC Lahti’ supporting their favorite soccer team. You can see it below: Continue reading
It seems to be somewhat overlooked just how impressive Swedish death metallers Amon Amarth have grown in terms of status and position, especially for an extreme act. Somewhat under the radar for many for the early days of their career, out of nowhere 2008’s Twilight Of The Thunder God(Metal Blade) took the world by storm (pun intended) with some catchy, but still thunderous (ahem) death metal offerings. Further albums since have also seen high praise and more of the same sonically, culminating in a signing to a major label in Sony for European releases (still Metal Blade for North America). This is a death metal band we are talking about, this is huge news.
As a result of major label signing you could be forgiven for thinking the band may water down, but instead Jomsviking(Metal Blade/Sony) is in some ways, the band’s boldest album to date. Unsurprisingly Jomsviking goes down the Viking route again, but for the first time in the band’s career, this has a full conceptual narrative; that of a young man joining the elite Jomsviking after being separated from the love of his life, a befittingly tragic tale which invokes the ferocity of both its historical context, and of Amon Amarth’s music.
Musically the band have never been ones to deviate massively from their formula other than some examples of fine tuning or refining, and much is the same here. A mantra which did no harm for the likes of Motorhead and AC/DC and has certainly not done so for Amon Amarth. Thus, Jomsviking doesn’t throw any new surprises our way, other than some of the band’s finest and most instant songs to date. The white hot fury of ‘First Kill’ proves a suitably morbid and striking opener, whilst ‘Raise Your Horns’ is surely the most archetypal anthem the band has written thus far. Vocalist Johann Hegg may not have the most diverse of vocals but he pulls off individuality of differing characters with ease, whilst the addition of the legendary Doro Pesch on ‘A Dream That Cannot Be’ adds an extra dimension that could bolster the band further if explored further.
Amon Amarth are never going to make a Jazz fusion record or hugely surprise us; but what they do offer however is continuous refinement and subtle evolution, and Jomsviking is further evidence that Amon Amarth are still a huge and creative entity. The boldness of an in depth and intricate storyline intertwined with some of their strongest and catchiest songs to date, and you have perhaps the best album of their career.
8.0/10
CHRIS TIPPELL
[amazon asin=B01AUA1MC4&template=iframe image1]
Finland’s Ensiferum are one of the worlds leading “pagan metal” flag-wavers, if there can even be such a thing. The band released the criminally underrated One Man Army (Metal Blade) album last year, easily one of the finest moments in their career. Oddly though they don’t seem to have same recognition as some of their peers in the battle metal sub-genre. No matter, the music and the fans are what counts to this outfit, and it is proven by the many sold-out tour dates. Playing to a full room tonight in the band plays the hits, both old and new. The throng of fans approves. They are joined on this tour by the talented Metsatoll from Estonia, who also seem to be more obscure than thy deserve. On this night at Rainbow Warehouse in Birmingham Luke Denham of Luke Denham Photography caught all the action for Ghost Cult Magazine.
[slideshow_deploy id=’40087′]
[amazon asin=B00RXPTX4O&template=iframe image1]
Although emotive, the dark harshness of Vattnet Viskar’s sound seemed a strange choice to accompany the heavier, more melodic Pallbearer on last winter’s US tour. Look deeper, however, into the very British blackness of Settler (Century Media), the New Hampshire quartet’s second album, and the melancholy shines through.
Brutal stickwork permeates the tremolo riffs of ‘Colony’ until a wholly unexpected mid-point breakdown of slow, deliberate Shoegaze, reappearing at the track’s coda, marks the band out as a different breed. ‘Yearn’ begins with a portentous yet evocative passage, building with delicate synth effects into vocalist Nicholas Thornbury’s colossal yet almost whispered, dry bark; a more Doom-laden pace seeing lead shimmerings emerge only in a Post-style underpin. It’s a savage track, yet pregnant with emotion: the layered, twisting chicanes sending the sound into the more inventive horror of Inter Arma’s Blackened spin-off Bastard Sapling, rather than that of the band’s core which is heavily influenced by Winterfylleth, Fen et al. ‘Impact’, for example, evokes images of rolling, furze-heavy hills in winter, as is expected from that UK Pagan contingent: yet a Viking element adds punch to this truly moving track.
This is an album giving true meaning to the ‘Atmospheric Black Metal’ tag: expertly blending the hostile, hissing tundra with chest-swelling passion and, in doing so, creating a living monster. Seamus Menihane’s pounding, resonant tubs return as the direction for the aptly named ‘Glory’, more sadness wrought from that lead guitar as an initial Trad metal rhythm gives way to dual Post wails, crushing riffs returning at the height of the ensuing explosion, an emphysemic roar coating the whole in a wonderful disease. The brutalised, throbbing heartbreak of both the title track and ‘Heirs’, meanwhile, where those expressions of angst remain constantly on the right side of Metalcore to emit sincere feeling, are supreme examples of the band’s organic versatility and heart of fire.
Closer ‘Coldwar’ melds elements of Black, Melancholia, Post-metal and Rock in a swelling, distraught yet euphoric finale. A refreshing, ambitious effort whilst remaining faithful to the dark core, Settler shows Vattnet Viskar to the stage of serious contenders.
8.0/10
Vattnet Viskar on Facebook
PAUL QUINN