Label: Ván Records Band: Slidhr Origin: Ireland/Iceland
Slidhr is on the rise and in its second incarnation it releases a destroyer of an album, titled ‘The Futile Fires of Man’. The band was founded by Joseph Deegan in Ireland but has come to fruition now through the land of fire and ice, where joined by fellow musicians, Slidhr is finding the form of the beast.
Though Deegan still resides in Ireland, his cooperation with Bjarni Einarsson (Wormlust) and Garðar S. Jónsson, both active in Sinmara and Almyrkvi, the sound has become a complete expression. Mixing some death influences with the black gives the sound a meaty, heavy effect. The glossy cover of the vinyl also catches the attention and quite frankly, it’s a great record.
So when we kick off with the title track, it instantly gets heated with high-pace drumming and rolling, rough sound of drum battery and ferocious vocals. It just barrels onward as well, never stopping, never a little lull or intermission, but furious black metal with commanding vocals that never tire. But that is probably what makes Slidhr so good to me, it’s a continuous flow in the most classical sense of black metal. I mean, listen to an old one by Emperor, Mayhem or Watain and that’s what you’ll get. In your face, unrelenting, but a bit more groove and fat on the bones, like Secrets of the Moon or even Mgła.
‘To Celestial Depths’ has these big, lurching guitar riffs, that seem to drag at your very soul. When you really listen to the sweeping tempest that follows, you can sense the rise and fall of the riffing, as it seems to build up to a mighty crescendo. But then the sea calms and sinks back, but there’s never a moment of ease in Slidhr’s music. It can be a boiling, explosive madness at times, like the fury-driven war drums of ‘Rise to the Dying’, with that harrowing intermezzo that only fans the flames further.
‘Through the Mouth of the Beast’ brings the whole run to a close with majestic grandeur and a sincere sense of falling deep into the abbyss. The music is slick, effective, yet also filled with brimming intensity and malice. A mighty finish to an album that’s hard to nail down, but easy to succumb to.
Far corners of the world breed the most astonishing music acts. ‘Mineral Bearing Veins’, the latest record by From The Bogs of Aughiska, is proof of that in all its splendor. From it’s mild, folky tunes, to it’s ambient and recorded samples to harrowing black metal, it shows the limitless possibilities black metal offers.
Conchur O’Drona is the single mind behind the entity that has become From the Bogs of Augishka. When you’ve stumbled upon this work of art in the past you must already be hooked to the mystique that is this band. Over the years, the project has evolved into a full band, but something singular always remains with the group and its sound.
With ‘Mineral Bearing Veins’ out in the world, I was curious to get in touch and ask some questions about the music, this album and context of the group and kindly I was granted answers.
Above and below: From The Bogs of Aughiska
How are things going for From The Bogs Of Aughiska?
Things are very good, thank you. We’ve just completed a UK tour where the four of us played together for the first time and despite a few technical problems at some of the gigs, it was a successful run.
Finally, after some years in the works, the new album ‘Mineral Bearing Veins’ is seeing the light of day at the end of the month. I think this is the strongest FTBOA music to date if I may say so myself.
Could you take us briefly through the history of the band and how it was formed?
FTBOA was originally created as a solo project in 2009 when Myspace was still a thing. The first FTBOA song that was written was the track ’Leabhar Gabhala Eireann’. The self-titled debut album was released in 2010 on Lone Vigil (Chris Naughton of Winterfylleth’s own label ). In 2011 I started performing live, the very first 2 show were in The Netherlands (one in Utrecht and the other supporting none other than Ulver in Rotterdam) and a split with Dark Ages (Roman Saenko from Drudkh / HateForest) came out later that very same year. ’Roots of This Earth Within My Blood’ was released in 2013 to much acclaim and around that time the band became a two piece and toured Europe. The ’Fenian Ram’ EP came out in 2016 and this year as a four piece we are gearing up to release our third album ’Mineral Bearing Veins’.
Now, I know that Aughiska is a place, as the new album deals with nearby locations, such as The Burren and surrounding region. Could you take me (and by extent the reader) on a mental tour of the region and why it is so essential as your inspiration?
Aughiska More is the region I grew up in. It’s an area on the road to the world famous Cliffs of Moher between Lisdoonvarna and Doolin in County Clare on the West Coast of Ireland. As a child, the place was a massive bogland (wetland created from a dead forest) but over the years the forest has been replanted. For such a small area it has so much interesting nature and has had a massive inspiration on my life.
Your sound appears to me more as a form of aural storytelling, through the atmosphere and spoken word fragments, combined with black metal as expressive means. What, the sort of feeling and maybe message, do you want your listeners to take from the music?
There isn’t any particular feeling or message, it seems everyone has a different reaction to our music.
FTBOA hails from Lisdoonvarna according to your bio. It would seem that this makes the band rather isolated and it has an impact on the sound. Do I understand this correctly?
Lisdoonvarna is a small town that’s famous for its spa water and believe it or not an annual matchmaking festival that has been running since the 1800s. Growing up there I was definitely feeling somewhat isolated and I discovered extreme music myself as a way to escape (I was listening to The Berzerker & PigDestroyer amongst others from my early teens). I don’t really feel connected to any scene as such.
Can you tell me more about the latest album ‘Mineral Bearing Veins’ and take us through the process of its creation?
I think ’Mineral Bearing Veins’ is the most complete FTBOA album to date which combines dark atmospheric soundscapes with elements of black metal while still having the Seanchaí (a traditional Gaelic storyteller/historian) vibe going through the record. The album flows like a journey that will take the listener on an otherworldly trip.
Regarding the creation process, I record the dark ambient parts using basic computer software and add field recordings, the audio of which is usually taken directly from the videotapes of the footage we use when we perform. I tend to mix this all in stereo to give it a cinematic feel and then send my parts to the other lads who layer it with guitar, drums & vocals.
I would love to learn a bit more about the cursed fairy trees, dark underground cave systems in The Burren, isolation and Irish superstition that form the themes of the album. These are aspects most people might only have a very faint idea about and perhaps you can share a bit about it?
A running theme throughout his record is cursed fairy trees, this is influenced by the protest storyteller EddieLenihan held at the turn of the century when a lone whitethorn bush was going to be removed to make way for a new bypass between Newmarket-on-Fergus and Ennis in Co. Clare. He warned of terrible consequences if the fairy bush was destroyed, saying that the site in 10 to 15 years time would have a higher than usual casualty list, including fatalities. In the end, the developers changed the route so the tree wouldn’t be removed and it is still there to this day. The other main themes on ’Mineral Bearing Vein’s are underground cave systems and isolation which are portrayed on ’Poll An Eidhneain’, named after the Doolin Cave which contains one of the world’s longest known free-hanging stalactites which remained undiscovered for years. The track is about being a cursed soul trapped in the internal darkness of the cave.
On this record, you move towards a more harsh sound and more black metal elements. What made you go in this direction? Was it the themes and stories or a musical preference?
This was always my goal when I first started FTBOA. I wanted the music to be a progressive journey via extreme music that portrayed the atmosphere from living in a unique place and which told the stories I heard growing up in the west of Ireland.
Did you do any other things differently on this album that you’d like to share?
This is the first FTBOA album that was recorded as a band. With me doing all the electronics, fielding recordings and some vocals. Bryan on guitar. Ronan on vocals, guitar and recording and Padraic on Drums. We also had guest appearances from Eddie Lenihan (Storyteller who feels like a member of the band anyway), Liam from Soothsayer, Paul from CorrMhóna and Johnny Rua on Harp.
What role do you consider for traditional music in the art you create? It seems to be an ever-present part.
Traditional Irish music is in my blood and will to a certain extent feature in the music I create. It’s really not something you can take out of me so I might as well incorporate it.
The mastering was done by Ken Sorceron (Abigail Williams), who worked with artists like Perturbator and Leviathan. Was he your first pick to create this new sound and how did this work out in your opinion?
Ken has been a friend for a good number of years and shares the same outlook on music as me, so naturally he was the first choice when it came to getting the album mastered. He heard the record for the first time while being snowed-in in Cork on his trip to Ireland in Spring this year which I thought was rather fitting.
Perhaps an out of the box question, but I wonder, would you make the same music, if you lived anywhere else? Also, what does it mean for you as a musician to be Irish?
No, I think the place you are brought up in shapes your life. If I had grown up in a city I might have become a Grime artist. What does it mean for me as a musician to be Irish? Playing the music I do, it’s just an expensive hobby with no support despite the fact that a lot of people chose to visit Ireland after seeing our live performance and seeing the visuals we play in the background. The Irish Tourist Board should be giving us a grant!
What future plans does FTBOA have?
Currently we are working on the final details for our first proper ’video’ and ’Mineral Bearing Veins’ comes out on September 28th so hopefully, the album is received well and we get to play live more often.
If you had to describe FTBOA as a dish, what would it be and why?
Braised Venison stew with red wine & redcurrant sauce served on horseradish mash. Rich food with a lasting aftertaste you won’t forget.
From the far Galway, Ireland, comes the act Neamh-Mharbh, who play a distinctly dark and gloomy bit of atmospheric black metal. It seems the west of the green island has a particular knack for the utterly dark and haunting you’d say.
Little is known about the band, and the only connective point I’ve found is the mention of Ben Merlin Wilkinson from the UK-based Where The Crows Gather as a guest vocalist on ‘Excursion of Cathrain’, linking the band to a wider UK black metal movement keen on the atmosphere.
The sound that greets you on ‘Genesis’ is unlikely described as atmospheric black metal. Yet, the band might actually more approach a sort of churning funeral doom with its slow, leveled drones. Deep, guttural vocals resound from the bowels of the earth. We do move more towards that black metal barrage on ‘The Terror of the Revenant’, though the sound never gets a flowing motion to it and sticks to the simmering and seething sound, offering a blood-curdling sense of doom.
As in a three-step rocket, it’s the track ‘Excursion of Cathrain’ that goes full on in its ascending riffing and tumultuous drumming. A fierce grasp to the heavens in full vigor and vitality. The record takes a turn on ‘A Grave of Thorns’, where a folkish, tribal tune slowly unfolds. A sense of serenity comes over the listener, as the slow, throbbing wavers like a fog over the hillsides. It’s a simple sort of beauty, hard to dismiss. The vast atmosphere comes to a close with ‘Remission’, which may be the best song of the album yet.
This record was a surprise, as the cover left me a bit puzzled. Yet, this record is a remarkable piece of heavy, captivating atmosphere that tells you something of its origins.
Raum Kingdom is a fascinating act and has been working on their very distinct sound for a couple of years now. I had the pleasure to discuss this with the group earlier and with their latest record ‘Everything & Nothing’, they definitely capture my ears once more.
The influences are the like of Deftones, Amenra and more sludge bands with a mythical vibe to them. On this record, I feel that an addition of Urfaust is in place, particularly due to the vocals and the flood of sound that just drags you along. Though they’ve been around for a few years, this is finally the debut from the Irish band and it’s a welcome one indeed.
The howls on ‘Summon’ are the main reason I mentioned the Dutch black metal band a moment before, as they make the hairs on the back of your neck stand up. The music is more meandering, more Isis than the bombastic torment of Amenra for this song, but the similar force is undeniable. Heavy and full of that channeled rage, the music just keeps pumping on tracks like ‘Dig’ and ‘Winter’, featuring Mia Govini from Makavrah.
The word you look for when describing the sound of Raum Kingdom on this record is ‘flow’, because that is what the sound does. It’s an endless flow of energy and barely contained emotional tension. The deception of calm and harmony on a tune like ‘Walk With Reality’ is exactly the line that Raum Kingdom likes to walk. Playing with the smooth movements and then harsh, bursting riff-rife explosions, full of tremolo waves, the band sets itself apart in the more blackened sludgy corner. Not particularly driven, the music follows its own path. Lyrically, the songs are personal, highly contextually valid and fierce in their bared essence.
Raum Kingdom has found its place with this record and it is merely a matter of time, before their due recognition is there I hope.
Stephen Lockhart is a man of dedication and after leaving his native Ireland, he has hooked up with the Icelandic scene ever since. The man played in Sinmara but has also returned to his own project RebirthofNefast after almost 10 years. The album ‘Tabernaculum’ is an extraordinary work of art and one that has been in the making for years due to the desire of Lockhart to make something monumental.
Rebirth of Nefast has not released a full length before ‘Tabernaculum’, but a demo and a split. Lockhart has in the meantime also played in Myrkr, the epic Wormlust and Haud Mundus. There’s a reverie with which to approach a record, that took so much honing of the craftwork to make. I feel awed by it’s magnitude and force, but what a great listen it is!
Great, but not easy, because ‘The lifting of the Veil’ opens with an 11-minute bombardment, introduced with eerie tones, which surges over you like a tidal wave. As the abyss itself slowly unfolds, the warped, guttural words creep out. Whispers and soft picked notes create an even more dense atmosphere as if fumes rise up and envelop the listener. And then… you go off into the deep end with Rebirth of Nefast.
The trick is not to rely on sheer ferocity, but the suggestion of that. When this band has swallowed you whole, everything starts to sound huge and foreboding. Sure, when ‘The First Born of the Dead’ kicks of, the blast beats are heavy and hitting where it hurts, but they’re balanced, controlled and carry the atmosphere with them. The sound simply flows, like a dark horde in the night. Full of strength, but never needing to fully put it on display, the record is one of the best things I’ve heard in a while.
Closer ‘Dead the Age of Hollow Vessels’ feels ashen grey, full of vitriol and with a mild hint of melancholy. It’s all there on this album, ready to be absorbed into your bloodstream and cool your heart.
Label: Celtic Wraith
Band: Scriptor Hiberniae
In a magical story, the record ‘The Manuscript’ sprang from a magical manuscript, found by Scriptor Hiberniae. It’s marvelous layout and caligraphy fascinates him, but when it is taken home it starts to glow, transforms into a humanoid creature and leaves to cause mischief. After an investigation, it turns out that a pagan chieftain had himself resurrected into an ecclesiastical script of gold. Maybe Satanic interference is at work? The scholar never manages to work further on his research, as he is apprehended and burned at the stake under suspicion of sorcery.
This is the wild story for this record of gloomy dungeon synth from the Irish island, but it can hardly be left out. The label Celtic Wraith, that released this happens to be from the same artist (whose name I have not been able to deduce). Regardless, this is some fine dungeon synth for you to admire.
There are light-hearted tones, giving the pixie-like light step to the sound (like the intro of ‘Magical Manuscript’), but it’s only for brief moments that it is the more illuminating factor for the Scriptor Hiberniae’s overgrowth and dark, dusty libraries of ‘Scriptorium’. Relying heavily on bass tones, the sound has a dark and foreboding atmosphere, which is befitting of the traditional dungeon synth sound. What really sets SH apart, is the attempt at storytelling through the minimal means of the genres instrumentarium.
At times the record embraces dark and gloomy sounds, almost pounding heavily when the somber and dark parts of the story come by. On ‘Kept Records of Activity in this Area’, the lighter tones take on a more frantic pace. Effects enrich the sounds to create an atmosphere of upheaval and nervousness. The record ends with the grim ‘Infernal Burning’. Finality to the story is given with the crackling sound of fire when the scriptor ends up on the pire.
Ah, some proper Irish black/death fromt he crew of Beithíoch. The band hails from the north-west of the green Island and has been consistently pushing out records over the last few years. The band name translates as ‘beast’ or ‘animal’, which sort of matches their intense sound.
It appears as if the group has been trying to find a particular sound for their Irish roots, moving through different styles over the albums. This EP appears to be the next experiment in this long line of explorations, titled ‘ Storms of War’. It’s a short but powerful endeavor worth listening to.
What remains is a cavernous, lumbering monstrosity, that shows little to know subtle movement in this dense, atmospheric record. Opening track ‘Morrígan’ has slow waves of distorted guitar crashing into the listener as a crow caws. It’s more a dungeon synthy intro, before ‘The Jaws of Death’ launches in big, wavy fashion. The sound feels very dark, with a shadowy melody line emphasizing the way the sound seems to work within confined space. The song just barrels onward, showing little subtlety or nuance.
Once more, the track ‘Funeral Pyre’ introduces the final song.
‘Dornán Talaimh’ comes on like atmospheric black metal, with lingering and languid riffs. The vocals are almost a whisper from the abyss. The deep guttural barks that roared through the first half of the record have made room for calm and measured murmuring. It shows another side of the band in this way too short release.
Beithíoch spawns forth some creeping chaos on this EP, that will take you to some dark places.
Label: Self released / Metal Defiance Productions Band: Scáth Na Déithe Origin: Ireland
The name Scáth Na Déithe translates, if I’m correct, as ‘Shadow of the Gods’. The band consists of Cathal Hughes (Dúnmharú, Nautilus) and Stephen Todd (Astralnaut). The Irish band has found a spectacular distinct sound on their second endeavour. The duo previously planted their flag with the EP ‘The Horrors of Old’, but now unleash their full length ‘Pledge Nothing But Flesh’.
The record was recorded at the start of the harvest season, or as the band puts it ‘Meitheamh agus Lúnasa’. Though dubbed black metal, the sound of these gentleman is distinctly Irish to me. A country that seems to have an ever growing black metal scene, as goes for Scotland. In the music you find elements of its origin, In this case, the unnerving cover art may speak of darker parts of Irish history. The only other clue is the reference to the time of recording and two songtitles in Gaelic.
From the start it is clear that the two members have affinity with the slow and steady, since doom and stoner are clearly in their arsenal due to other bands they’ve been a part of. The heavy rhythm parts are accompanied by abbyssal vocals, which work well with the burbling, grimy bass. The murky, dark forest on the cover is fairly well depicted in the heavy, oppressive atmosphere this creates after intro ‘Sí Gaoithe’ on ‘Bloodless’. The pummeling drum feeds vitality into the song. A fearlessness and strength that allows the brittle tremolo guitar to soar and set apart a new atmospheric trail in the songs path.
Lyrically it appears that the band connects somehow to Primordial in the take on the self and the one sided-dialogue setting of the words. In defiance screaming at an uncaring deity. The record is filled with atmospheric parts, particularly the guitar play. A little intermission in the form of ‘Fáilte Na Marbh’ therefor fits in and offers a moment of respite for the listener. The continuous string of tremolo riffs really does its part in contrast to the sometimes almost foggy sound. At times that part just overtakes the whole sound, like on ‘the Shackled Mind’. When the torrent really unleashes, nothing can stand in the way of the thick haze of sound. The song also contains a meandering, calm guitar passage towards it’s end. Offering once more the atmospheric antics of Scáth Na Déithe in glorious beauty.
The mastering of the record took place in the Swedish Necromorbus Studio by Tore Stjerna. No surprise that the sound becomes so heavy then. With bands as Watain and Funeral Mist in his portfolio, the Swede knows the impact of extreme heaviness on music. ‘Pledge Nothing But Flesh’ is a daring entry in the current black metal world. Hopelessly atmospheric and bluntly heavy, the record is not aiming for any middle grounds. Scáth Na Déithe produced another vital stepping stone for the expanding Celtic black metal realm.
From the Green Island comes Raum Kingdom. They make bleak blackened doom that has little to do with any of the further stereo types that might pop up when you hear Ireland. The band released a refreshing album of material, that feels like a new wind breathing through what we know in this style. Inspired by the likes of Amenra and Neurosis, the band promises to be an interesting new act on the horizon. Time to check in with the guys from Dublin. Guitar player Andrew Colohan is keen to tell us more about Raum Kingdom.
Hello, yes we are all in good spirits, form and health and delighted to be doing this for the Sleeping Shaman.
Who are in the band and how did you get together, did you guys play in other bands before?
There are four of us in the band, Me (Andrew) -Demons Bow, Dave – Chant, Mark – Rattle and Ronan – Devils Bow. We have been close friends for a long time and big lovers of music and over the years have been in different projects with each other. The time came when we could eventually play together and this happened. We hope that real life can be kept at bay so we can continue with this for as long as we can.
As far as I can gather your bandname might be derived from the petty kingdoms of Norway, of which one was called Raumerike. Is that correct?
We have never heard of that place before, So sorry to say, but no. Sounds nice tho. Norway seems like a nice place. We were settled on just Raum but the name was taken so we added kingdom. It doesn’t really come from anywhere as such it was just trial and error.
What inspired you to that name?
We had ideas and a concept from the get go and even as we where progressing through creating the songs we didnt have a name. But the more we tried to find something the more it eluded us. The name eventually was found through trial and error and as everything else was taken. Raum Kingdom is supposed to stimulate the imagination of a place or earth with different values , principles and laws.
What can you tell us about your record, how did the recording and writing process go?
We had a blast writing this music and still are enjoying writing. The process is we basically say ” That’s to many notes.” Strip what we can back to the core, do a little shuffling and testers. When it fits the theme of what we want and are about, we take it from there. Recording is when we polish off everything, as we don’t know what it will truly sound like until then.
What is the general theme of the record?
We didn’t intentionality set out to have a theme for the EP but if we had to say there was one it would be Pain with a pinch of hope.
When I listen to it and also follow the lyrics, it feels like a story or like a stream of consciousnous from one person. Do you feel that would be in there?
Yeah for sure each song has it’s own story to tell.
What is in your opinion the best song on the record and why?
We all have different opinions about that and it changes with each of us as time passes. But it might be good to say that ” This Sullen Hope ” Could be generally considered one that we all go Yea thats what we want and are about as it has everyting in it.
The record seems to be generally well received, what makes Raum Kingdom stand out in your opinion?
We’re still a bit blown away at how good the response has been none of us really expected it. I don’t think there’s a lot of bands out there trying to do what we are doing.
What is the sludge/doom scene in Ireland like? What hidden gems does Ireland have to offer?
Being such a small nation and an Island. The scene is rather small, That’s not too say the ideals are small. It can get reptitive very quickly here. There are few gems we know of. Fuckhammer, Okus and Weedpriest. Just to name three. Some vile stuff happening there.
Are you going to tour for this release?
We would love too gig and tour and we will as much as humanly possible with the hopes that the numbers and tempo will increase in time. We are having our EP launch on the 05th Sep 14, Fibber McGee’s in Dublin Ireland, With a few other shows and surprises happening.
What future plans do you guys have?
As a unit we have many hopes and aspirations. But we gotta keep all that in check and be real. We are loving what we have at the moment and we are enjoying every moment of it. We are currently writing, gigging and hopefully playing in other countries soon. But we just gotta wait and see. There’ll be an album within a year called Raum Kingdom II.
Anything you would like to share?
In the absence of will power the most complete collection of virtues and talents is wholly worthless.
Raum Kingdom’s self titled debut is available through their Bandcamp profile http://raumkingdom.bandcamp.com/releases
The first Sounds of the Underground of 2015 and the section of my blog seems to gather some attention. Thank you for this. For this edition I checked out The Glitch Mob, Cruachan, The Hyle and Chthonic.
The Glitch Mob – Love Death Immortality
So it would appear I like a lot of metal and truly, it is the main thing I listen to these days. I have a huge weakness however for the Glitch Mob. I like electronic music that is heavy on the bass, layered and telling a story in itself. The debut of this group from 2010 was quite amazing and captivating. It had that same mystery I find in postrock and some black metal. On their 2014 release the band takes a different approach.
The feel of the sound is much more dance-oriëntated, high on energy and with a faster pace. Fleet footed and lightweight would also be terms, but they might feel a bit negative. Songs like ‘Skytoucher’ still captivate the feeling I loved so much on their debut, but in general the album is more directed at selling and being something the kids can dance to. Not sure if that’s a good thing, for me ‘Drink The Sea’ will remain the favorite and I’ll check in with these guys again when a new record comes around. Though their ‘glitch’ may be less attractive to me, the group still makes brilliant music. Don’t take me wrong on that.
Chthonic – Bù-Tik (武德)
Since the album that is released on 29 december is a full acoustic one, I thought it fun to look back at the previous release of Taiwanese melodic death metal giants Chthonic. The band plays with folk elements and structures in a complex sort of work, that relates closely to the atmosphere of black metal in my opinion. The hectic sound is typical in most Asian metal bands I’ve heard, also the clean sound and the polished production. The band manages an accesible sound, while retaining their identity.
The narrative is that of the foundation of what became Taiwan, told in the native tongue. That shouldn’t prevent you from listening to it. The beauty of this record is it’s way of sounding like a metal band in a clear cut manner, but implementing the narrative of Taiwan by using folk elements and mythology to create distinctness. Anyone hearing this will look up in surprise to check what it is they’re listening to, but still feel it relates to them. Though the sound is rooted in the more extreme styles, the grandeur of power metal is definitely present int he riffing and huge arches of vocals and synths. It doesn’t surprise me that Spinefarm signed them. The acoustic album that is coming out is promising to be another revelation and a rare insight for many metalheads in Asian traditional music.
The Hyle – Demo
The Danish band has a wonderful sound that combines doom with a stadium rock-like swagger, without losing any of their credibility. This demo was not without reason so well liked by Cvlt Nation out of what they picked up this year. The slow, foreboding sound of ‘Lucifero’ sounds weary and whispers a certain despair. The clean vocals are warm and caring, but hollow somehow. Slowly the song runs its course, untill twangy bass sounds support samples and harrowing riffs continue the brooding sound onto the ritualistic sounding ‘Serpent King’. I feel a bit reminded of Electric Wizard meeting up with Witchcraft when listening to this record.
The second half of the record opens very slowly with ´Spiritual Sacrifice´. The spun-out track wavers on for a couple of minutes, when silence descends. The final song is ‘Children Of The Divine’, which is also a dark tune with the sense of ritual and pagan magic to it. The band creates a sound that feels like retro, but also distinctly now. The record is captivating and if these Danes call this a demo, I’m eager to hear the debut.
Cruachan – Blood For The Blood God
The Irish folk metal band Cruachan is pretty much one of the first of its kind. This year I saw them play live, finally, at the Eindhoven Metal Meeting and experienced a lot of their new songs. The work seems raw, honest and direct, but also a bit amateuristic sometimes and a little odd. The vocals of Keith Fay are very peculiar and the man is simply not the most talented singer. Still, the blend of folkish traditionals and raging metal works quite well for the group that has released it’s seventh album on Trolzorn records. The song ‘Born For War’ is representative for the epic sound and feeling this band wants to invoke.
Noteworthy is the song about ‘Beren And Luthien’, which departs from the Irish mythology and picks up a little Tolkien along the way. The band seems to have two gears, of which one is a slow, melancholic pace and the other the frantic one-two-one-two primitive death metal roll. Both are implemented in different ways, but it tells the listener a bit about this band. Cruachan feels like a band on form, enjoying what they do once more, but also stuck in thier own sound. Change is a difficult thing and this record doesn’t sound in any of it. One could argue that this is the reason the whole folk metal movement passed the Irish group by. I don’t know, perhaps they are comfortable in their own little niche. Songs like ‘Gae Bolga’ and ‘The Arrival of the Fir Bolg’ are both well constructed and atmospheric and display the strenght of Cruachan. I worry that they will remain an anachronism in a genre that moved far beyond the primitive sound of this group.