Olhava plays post-black metal and has become remarkably active this year, dropping two full-lengths in the span of a few months. While that may be cool, it remains to be seen if the quality is up to par (dun dun duuuuun). The band hails from Saint Petersburg in Russia and ‘Ladoga’ is their third record.
Andrey Novozhilov and Timur Yusupov are bandmates in Olhava, but also play together in the majestic Trna. That’s a good band, so if you like this, check them out too. Lagoda is a lake, north of Saint Petersburg. It’s considered the largest lake in Europe. It is pretty large indeed, but this record represents a primordial return to the essence – a review of a physically the same man, but with a different mind in today’s cultural paradigm. “It’s a journey from nowhere to nowhere. It’s about the fate of a person in the eternity of existence.”
‘Ageless River’ comes on with a churning sound of the water rushing. Notes fade in, building up to what only can be described as a carpet of sound completely drowning everything out. There are deep waves of melancholy woven into the fabric of the music. It’s as if the sun is shining on a rainy autumn day as ‘Smoldering Woodland’ demonstrates in the hazy sunlight as the insects buzzing increases. Intricate melodies are woven into a distorted wave that I find easiest to equate to The Angelic Process or Jesu’s likes. The returning theme of the ‘Ageless River’ is noteworthy, too, as the flow of things puts all in flux.
There are some monster tracks on this record too, with the almost 18-minute ‘Trembling Night’ taking up the crown. These are long, winding journeys into the sonic forests Olhava sings about. One could say metaphysical forests, but there is only the sound when you listen to this record. It is continuous, but there are these atmospheric parts where no guitars and drums are hammering down on you. Those are the rare intermissions of the river, but the band also paces itself during these longer tracks. ‘The Heart Is A Lonely Hunter’ is one example of an easy flow to start with. In the end, it evolves into a similar baptizing into the introspective sounds that Olhava is delivering.
The lyrics, all in Russian, are written by Alexander Yordaki. Now, I am not certain if he participates on this record, but the previously sang on the single of ‘Ladoga’, which ended up becoming this record. He might be the vocalist, but I can’t confirm. On the album, I can only say that it feels like one solid whole, it is an immersive effort and for me a flow you want to experience as a whole. If you love the deafening impact of shoegaze-like acts, this is for you.
Russian band Trna have not made things easy for themselves and after their well-received ‘Lose Yourself To find Peace’, they’ve adopted the genre indication blackgaze. A style indicator usually associated with those bands black metallers are eager to avoid. Nonetheless, it seems fitting in the navel-gazing haze that is Trna to use this term.
‘Earthcult’ is a more verdant record, that takes you into the splendor of nature. Not sure if that’s intended, yet it is the effect the music has on me. It is the third release from the Saint-Petersburg trio in a relatively short period of time and like the previous ones it is well worth to give a listen.
The blast beats immediately call you to attention as the record opens with the title track. A brief burst of brutality soon melts away in the lush realm of the dense atmosphere, like that of a great forest. The black metal elements are there, but soaring above is an almost ethereal melody, more akin to postrock bands in both energy and soothing beauty. The music truly flows, even more so on the rhythm driven ‘Everywhere and Nowhere’, which is a great track to just ride along with.
What I find most peculiar and fascinating about Trna, is how they blend that postrock feeling with black metal ferocity, to create something truly strong and condensed. As an everflowing stream, their music rolls ever onward, like a river through the forests, in violent turmoil but with a natural harmony on ‘The Heart of Time’. On ‘Thaw’, the band truly opens the floodgates and I feel like I’m listening to Amusement Parks on Fire or RedSparowes. A magnificent outpouring that touches the heart through the ear. Trna have truly moved on to greatness on this record.
Karelia is a fascinating part of the world for me and hearing bands from there, it always evokes a certain imagery. This goes as well for Is, who hail from these northern realms. They captivate their homeland in atmospheric black metal on the album ‘Into My Own’
Is revolves around the sole member and creative mind behind the project, named Nøkken (a reference to a mythic water spirit). In the four year existence of the band, he has produced an immense load of music in various formats. Always the theme revolves around life in the far north, nature and all that it embodies, since that is the magic of Karelian life.
Slowly the music oozes out, with big, lurching movements and a minor melancholy in the guitar arches. Immediately, clouds block the sun as Is delivers their atmospheric black/death. Guttural vocals come up as if rising from the Karelian bogs. On ‘Into My Own’ you really hear the different sides of the band. A clean guitar part, soaring and speaking in its own distinct voice, yet clashes with the heavy battery of blast beat drums and roaring vocals. The guitar-play in an intermezzo even has a bit of jazzy groove to it, which makes these guys so interesting, because at the same time they throw in these eerie synths. Full on contrast, that seems to be the thing for Is.
‘All that is Gold’ takes us into the Opeth realms, with the intro full of feeling. The guitar really becomes the sentimental instrument in the work of Is, where the rhythm section and vocals offer sheer brutality, with again grooving riffs that almost hark to Pantera if the endings were less stiff. But there’s the peculiarity about their sound, it’s very accessible. It flows quite casually, due to an excellent production and now hooked corners to it. Yet you could at some times even lump it into the post-black metal corner, if it wasn’t for the blunt beating of the drums and concrete-grinding roars of the vocals, who take it back to a rougher corner.
Is holds a very own regal beauty, and that’s why you should listen to their music.
Label: Black Mara Records Band: Astral & Shit Origin: Russia
Astral & Shit is not a band name I recommend if you want to make it big, but for an underground ambient project, it works to get the interest peaked and look a bit odd in the big mass of releases. This is their latest release on one of my favorite ambient labels, titled ‘Divo’.
The act in fact only contains one member, namely Ivan Gomzikov, who hails from Nevyansk, a town north of Yekaterinenburg deep into mother Russia. Astral & Shit is extremely productive and releases records by the month it almost seems.
The record opens with ‘Riphean Mountains’, which opens up like the sun going under over a rocky facade. First gently cresting the edges, before becoming fully removed from your vision. Then every sound intensifies, with the nightly sounds and rumblings of the earth around you. Repetitive chirps accompany the droning sounds produced by Gomzikov, enhancing the nightly aura. But the drones keep swelling. The concept of the album revolves around an alien entity, that once came out of the earth. That is Divo, dangerous, but mostly not understood by us.
The drones turn very heavy at times, almost taking up the whole of what you hear, for example on ‘Polota Crossing’, where it simply seems to surge and pulsate as crackling or breaking sounds fill up the sonic gaps. It’s powerful, looming, but most of all fully submerging the listener. It’s the sound of nature, the silent droning you only hear when you are really, really quiet yourself for a moment. That’s the beauty of it.
ΚΑΤΑΠΥΓΩΝ or Katapygon translates best as ‘the finger’, so that should be clear. The project combines ancient Greek music with electroacoustic and ambient sounds in order to create a uniquely flavored concoction of blips, chants, and ancient rituals. It makes up a rather miraculous release altogether.
ΜΗΟΥΣΑ, in turn, translates probably best as ‘muse’. The description with this record is strange, to say the least. Suggestive and shrouded in mystery, the notes refer to a poem by Paul Celan, to the philologist Wagenheim (which might be a Latinized name). The Russian group creates a record with all these references, that suggests the dispersion of humans from the islands of Hellas millennia ago in music that defies description.
From the operatic opening of ‘Jenseits Der Menchen’ onwards, you’re drawn into a world of mystery and wonder with this mixture of folk, ambient, and drone. Classical samples and odd incantations fill the air, as this collaborative effort with Noises of Russia rolls forward. Spoken word passages whisper over the droning, heavy drums, which only hid after large intervals. By the time we get to ‘Пчёлы Персефоны (feat. Sal Solaris & Noises of Russia)’, a full on martial, throbbing beat takes over as a whispering voice pronounces the words. It’s odd, wet sound is almost uncanny if it weren’t for the supporting regal drones.
The chanting ladies on ‘O Phosphor Hecate’ take it all to a more ethereal level, with dense, vast beats and that traditional ecclesiastic singing in an uncomfortable disharmony. The chanting evokes a melancholy and yearning, that harks back through the aeons that separate the suggested origins from the obtruse age we live in, where magic and art no longer are an intertwined, integrated part of life. As we move towards ‘Persephone (feat. Neznamo)’, we are once more taken on that journey of mythical chanting and fat, physical beats. You can feel this in your gut.
This record is quite something. It defies proper description, but really rattles the listener. Recommended audio-experience!
Label: Shadowplay Records (album released independently) Band: Isa Origin: Russia
It seems that Russian act Isa has now determinedly started to move away from their black metal sound on ‘Небо в солёных колодцах’, which translates as ‘The Sky in the Salty Wells’. Not only in sound, but also in artwork and track titles. From the first release onward, Isa numbered their tracks in a continuous sequence, stringing the songs on four releases together into one descriptive piece of art detailing the pastoral Russian country life.
Previous releases would feature covers with landscapes. An almost still life of rural life depicted on them. This record shifts to a new dimension, where it seems like the human aspect takes the forefront. The cover features a collage of images of people land and nature, cut and paste together in an odd manner. It feels like a logical next step in the career of this Novosibirsk band, who constantly amaze with their beautiful music.
The result is a shimmering, brooding record full of melancholy. It is as if the winter has covered all the land, all life, and passion submerged by the mercy of a white blanket over its soil. Warm tones creep by, never really taking on any sort of force. The drums sound muffled, buried in the music that flows like a warm bath. Noteworthy is the collaboration with Lesnoy Tanets on the track ‘Poplars’, where hushed vocals speak raspy words over
On ‘Blind Man’ it is as if an accordion is woven into the sound. It feels folky, but also hazy. Almost as if you’re listening to memories of the past in abandoned streets. Yet, streets where only the ghosts of a better time dwell. The gentle murmurings never feel urgent. The music progresses slowly, which feels a lot like the daydreaming on a winters day, staring out over the frosty landscape. The melancholic sound of Isa is a mellow swamp of keyboards, guitars, and drums, all melting together. As a result, the music becomes an immersive dream. Melancholic and cold, most noteworthy on ‘Singing Skyline’ with its wonderful intro, is a highlight.
Isa has made a remarkable new album and found a direction to explore musically. I’m keen to hear what new works may come in the future, but this one is a record to keep coming back to.
Label: Fallen Empire Records Band: Jassa Origin: Russia
The Russian band Jassa hails from the St. Petersburg region. They’ve released three albums thus far, dealing with pagan themes of chthonic deities. These deities are, frankly said, quite unknown to me, but that hardly diminishes the force and grandeur of this pagan black metal band. They’re entities that are hinted at in archeological finds and myths but elude our knowledge. Jassa is a deity worshipped by the ancient Novgorod Slavs. That makes for a great mythical theme obviously for ‘Incarnation of the Higher Gnosis’.
Jassa has some experts in their ranks, who honed their skills in some fantastic bands before. Guitar- and bass player Vladimir and drummer Aeargh are mostly known for their project SivyiYar, where they create magnificent atmospheric black metal. The drummer additionally hits the skins in Zoebeast, ToxicBleat, and DeathRattle. Singer Erier has tons of projects, was active in Fimbulwinter, but now is active in Khashm, BestialDeform and Septory and more.
The bluster and rage in the sound of Jassa are quite overwhelming. From the opening track of ‘Beyond Time, Shapes and Names’ it is a pure onslaught of obliterating drums, massive riff-work, and unearthly vocals. It matches the name of the band in its subterranean cavernous darkness. This is the pagan rage at its best, bestial and abhorrent in it’s thrashing and punching. The way the drums are applied is really quite the captivating part. From a wild battering to the fierce rhythms that give the sound its backbone, Jassa keeps you hanging on for your life.
Oh, there’s also a mouth harp in there somewhere, which to me has been a great piece of instrumentation in black metal ever since Moonsorrow did it. I particularly enjoy the vocals of Erier, who has embraced a vocal range for this record that truly compliments the whole compositions. These are dense and heavy as fuck. On ‘Incarnation of the Higher Gnosis’, we hear something different though. Eerie, thin guitar lines pierce the hazy sounds and offer a base for murmured, deep spoken word passages. It offers a rare calm to the listener, with a ritualistic atmosphere that envelops you as a listener.
Another particular song is ‘Shadows Glide Quietly Among the Trees’, which has a particular sound in certain passages. They seem to drop into a more mechanic sound, more condensed and pushed together. The intensity of the sound increases as it slithers and merges. It brings you to the climax of what can only be called a fantastic record of pagan black metal.
Apart from the fact that these guys are named Мрамор, which translates as ‘Marble’, I know little about them. They were formed in 2015 in Ulan-Ude. This is in the far east of Russia, in the republic of Buryatia. A place far removed from Moscow and probably much different to what you think you know as Russia.
The music of the group is definitely different and is described as post-black metal or depressive rock, which immediately draws comparison to German experimentalists Bethlehem. It makes for a fascinating bit of listening though.
Ok, I’m going to give you the description of the wild sound that Мрамор produces as I hear it. It has a major tone in general, it feels just super upbeat and joyous in the weirdest way. Their vocalist shrieks with the same maddening style as Yvonne Wilczynska of Bethlehem and sometimes the songs simply have hooks that remind you of the feel-good punkrock of the late nineties. Though after ‘Пробуждение’ that soon fades and we get into the more post-black metal spheres that this band is aiming for.
The tremolo guitar play creates a vibrant tapestry full of color. That continuous stream is definitely taken from black metal, but the pounding drum and groovy bass line say something completely different. This actually rocks on ‘Оттепель’ and that explains why the band likes to call their sound ‘depressed rock’. The songs are rich with samples but go from swooping, majestic pieces to pretty firm rocking tunes and gentle ballads like ‘Навсегда’ in the best Russian tradition. That stunning variety alone makes these guys extremely good and interesting.
Metal music has found its way to remote parts of the world, but rarely to ones so isolated as Yakutsk. Yakutsk is the capital of the Sakha Republic, an autonomous region of Russia that covers about as much ground as India, but has only one million inhabitants. This article was originally published on Echoes & Dust. A thinly populated region, covered in ice and snow, and inhabited by the Sakha people gave birth to the band Hounds of Bayanay. Modern technology allows the band to create music an unleash it onto the world, but it’s really a complete DIY mentality that the group has. But what a place to make metal music. A land so heavily under the elements, with a people that live far away from any real bustling region.
In a way that is something you can find in the sound of Hounds of Bayanay. They’re eclectic and unique, finding their own sound in the city of Yakutsk, which has virtually no music industry present to speak of. Listening to bands they love, they created a sound so distinct that it truly represents their place in the world. I was fortunate to get in touch with the group and have a chat about that.
Can you kindly introduce yourselves and your band? Where does the name Hounds of Bayanay come from?
The band has been in existence since 2014, when Alex Yakovlev ‘Red Hat’ (rhythm guitar), Gregory Grigoriev ‘Klath’ (drums) and Slava Sivcev ‘Sleeva’ (bass/vocals) decided to start a ‘Sakha’ ethno-metal band. The previous band, Fahrenheit, had collapsed. Vocalist Aina Egorova ‘Keres’ and solo guitarist Michil Mekumyanov ‘Chillet’ joined the band as well and so Hounds of Bayanay was formed.
About the name, it may sound a bit silly but it started as a joke. Imagine how the media would call a Sakha terrorist group? But the name sounded hilarious and bad-ass at the same time. Bayanay – in sakha mythology – is a spirit and master of nature. He is considered the patron of hunters. The Cult of Bayanay still exists today and hunters in Sakha still pray to Bayanay to ask for favor before the hunt. Though our songs and music are not about Bayanay and the hunt themselves, it connects us to the themes of mythology and folklore of Sakha. Legends and forgotten tales of our people and the greatness of the northern nature.
How did you guys get into making metal music? What bands originally inspired you to make this sort of music? Each of us have been listening to metal since we were young, but our inspiration is very different. Bands like Metallica, Nightwish, Behemoth, System of a Down and even The Red Hot Chili Peppers are part of that inspiration. Yakutia already had many folk bands since the eighties. An example is Cholbon, who are considered the Siberian Pink Floyd and had success in Russia. The band has even been on a world tour. In 2003 a band named 103 emerged as the first folk metal band. They are huge in Yakutia now.
What are your inspirations for starting Hounds of Bayanay and choosing the lyrical themes you have picked? I find when listening to the music, that there’s a unique, ethnic element to your sound. How did you shape that?
What we wanted to create is something heavy, dark and wild, but at the same time it must contain chanting and feel festive like old Sakha folk songs and shaman ritual chanting. The band 103 was a huge inspiration, but we wanted something with more aggression, more blood and gore. The lyrics needed more pathos and mysticism. I suppose that through this our band was born.
In 2016 we started to find out that our music was not only beloved in our native Yakutia. It was then we started to connect and communicate with people from abroad, who loved folk metal music. They told us to spread our music even further. We had been playing live shows in our home town mostly. We were playing new songs at gigs and recording was put second. In 2016 we had also changed some band members. Before we didn’t have big plans, but that changed everything. We had a goal to record our first album, so that’s where we started on our EP ‘MYYC’.
You’ve released your EP Myyc. Can you tell us how the writing and recording process looked like? What sort of facilities did you use and what sort of process do you take in making your music?
We actually wrote and recorded the music in our garage during very dark and freezing evenings. All we had really was a few laptops to work on and USB-audio interfaces. After recording the vocals and the guitars, Alex and Gregory made the other music stuff.
I find, when I listen to your music, that in there you have something rather unique, it feels very ethnic and different. Are there specific bands that you feel inspire your folk metal sound?
The band 103 might be the closest inspiration we have.
In 2016 you’ve not just released your EP, but also dropped 2 demo’s. What was the motivation behind unleashing so much material in such a short time?
Well, one EP and two demo’s… We’d do more if we had the time for it.
On metal archives your lyrical theme is listed as ‘Yakut folklore’. I find that this otherness, this different cultural background is very tangible and strongly expressed in the music youe been making. Can you tell us a bit about that Yakut folklore, what is it about, what sort of elements return in it?
Yakut folklore is based on the pagan beliefs and ther epos “Olonkho”. Briefly described, there are three worlds: Upper, Middle and Lower. All of them is connected by giant tree “Aal Luk”. The upper world is world of Gods “Ayii”(Айыы), the ,middle world is settled by humans and the Lower world is full of demons “Ajaray”. In the epos, often, demons capture woman and the humans then will have to send one of hteir legendary heroes to rescue her. The hero will ask for the help of the Gods and must succeed to protect his people.
There also some more realistic folklore of yakutian people. Folklore of forgotten times when vast clans and tribes waged endless wars, powerfull shamans who gathered armies to destroy other nations and heroes who fought and sacrificedthemselves for justice. All of this is inspiring to many poets, writers and ourselves
Do you also put something Yakut, something typical, in your music?
Sometimes we put throat singing and we sometimes use the Khomus (something like jew’s-harp).
You’re making music very far from Moscow, far from any place commonly known as a centre for metal music. What is it like to make this sort of music in Yakutsk? Are there venues, record shops, studio’s and rehearsal spaces there? Do you lack any means to make music?
Yakutsk is a relatively small city and if you take a look at the map you’ll find that it is positioned in the middle of non-settled lands. Most of these lands are covered with snow and ice. This means we lack the professionalism in metal, we have no specialised sound people, there are no huge stadiums or arenas filled with metalheads…
What we do have are talented musicians. People with a will to create something original. We have willpower and it seems like we’re slowly getting something done. The population is not huge here, so there’s also no big amount of metal heads. There are no venues, no record shopws, no studio’s and no rehearsal spaces. All we have is unbreakable enthousiasm and metal unity.
There are atleast two or three annual music festivals for bands to perform at. Gigs are organised in local bars by enthousiasts and musicians themselves.
What sort of scene exists where you are from, are there other bands you think people should check out? That you’d recommend (and why?)?
People should check band “103” they sound very hard and very folklorish. Just check it out!
What future plans do you guys have at this point?
For now we are fully concentrated on recording our first album this year, it already took long enough now.
If you had to describe Hounds of Bayanay as a dish (food) what dish would it be and why this particular one?
If Hounds of Bayanay was a dish it would be elk cooked in a cauldron on a campfire. It would be a sign of Bayanay’s blessings after a hunt, when the hunter can reward himself with this delicious meat and drink some kymys.It is the real happiness for a sakha hunter: campfire, smell of cooking meat, taiga which surrounds you and not single soul for hundreds of kilometers.