Angry Metal Guy

Eluveitie // Helvetios
Rating:  3.5/5.0 — Helvetian Metal Hearts
Label: Nuclear Blast [EU | US]
Website:  eluveitie.ch
Release date: EU: 2012.02.10 | US: 02.28.2012

So this is a review of an album by a Swiss band being written by an Egyptian guy living in Egypt and published on a website run by a guy living in Sweden. Don’t you just love the Internet? Anyway, Eluveitie is indeed a very Swiss band that draws its influences from the roots of the land; medieval Helvetian and Celtic history. Since I did not study European history or Anthropology at any level, I can’t verify the accuracy, relevance or truthfulness of the stories being told on Helvetios. What I can verify, though, is that the music is quite interesting; especially if you haven’t heard Eluveitie before. They use the standard metal gear of distorted guitars, drums and bass and they’ve added a multitude of native folk instruments to complement and emphasize that snapshot of medieval Europe they’re creating with their music. Continue reading

Skyforger // Kurbads
Rating: 4.0/5.0 — A remarkable blend of elements
Label: Metal Blade
Websites: skyforger.lv | myspace.com/skyforgerofficial
Release Dates: EU: 23/26.04.2010 | US: 05.11.2010

Skyforger is Latvia’s answer to folk metal and they’ve been giving it a go for quite a while. Despite having been around since 1995, however, they’ve not produced a terribly huge discography. In fact, Kurbads is the first Skyforger album since 2003, when they self-released a folk album that was mightily well-received by their fanbase—even, apparently, more so their metal album from the same year Thunderforge. The band, for the record, has also been involved in a bit of controversy surrounding the use of, what the band calls a thundercross, and what the rest of us call a swastika in their logo. But it seems the band has worked very hard to distance themselves from any of the controversy surrounding this and should be approached from a non-political stance.

And pure folk metal Kurbads certainly is. Written with an eye towards ancient Latvian mythologies about men becoming heroes, every song on this record is basically about people standing up to the evil confronting them and defeating them. Think about it as the Baltic equivalent of the great national epics of Germany, Sweden, England or anywhere else for that matter. To back up this admirable and interesting concept the band has once again attacked the subject with their breed of doomy (or at least mid-paced) blackened folk metal. As I’ve been listening to this album I’ve had some issues placing exactly who the band sounds like, which is a thing to be admired, really, but I guess the best way to describe Skyforger‘s sound to newcomers is a blend of 80s thrash, Iron Maiden and Bathory with a healthy dose of folk melodies. It is a sound that is both familiar and comfortable, yet unique and interesting. Normally not a fan of mid-paced bands, Skyforger spoke to me on a completely different level.

This appeal has largely to do with the well-structured and interesting songwriting which combines all these different elements into a strong alloy. For example, the track “Black  Rider” mixes a Blind Guardian-esque riff, using bagpipes as lead instead of overly layered guitars, with an old school style Motörhead riff. While “The Nine-Headed” blends folk metal with Kreator-like German thrash and Iron Maiden‘s dual guitar leads. Each one of these songs offers a beautiful blending of these different metal styles and makes them cool, cohesive and crushing. My personal favorite song, and the one that convinced me that Kurbads was going to be a good record after all was definitely “Son of the Mare”, which starts out slow but turns into a speed metal track of amazing quality, with some of the most addictive melodies being carried by the bagpipes towards the end. This track set the standard for the album, which most of the record really lives up to.

Listening to Kurbads I’m really reminded of what it is about being a metalhead that I like so much. Sure, there seems to be a ridiculous amount of genrefication that’s gone on in the last few years. There are very few bands that are universally loved by metalheads in the same way that an Iron Maiden, Judas Priest, Black Sabbath or a Metallica once were. But the ability of bands to take these various different genres, blend them together and get something new out of it is definitely something that is worth our admiration. Every metalhead has his or her own idea of what The Best Fucking Band Ever should sound like, and most of the time it’s not one band, but several. Skyforger has managed to mix all of these things together to write one of the more interesting folk metal albums you’ll hear these days and something I guarantee you doesn’t sound anything like Eluveitie, Turisas or Finntroll—and that’s what makes it awesome.

Eluveitie // Everything Remains (As It Never Was)
Rating: 2.5/5.0 — Pretty solid, but too formulaic
Label: Nuclear Blast (EU | US)
Websites: eluveitie.ch | myspace.com/eluveitie
Release Dates: EU: 19.02.2010 | US: 03.09.2010

While not the first folk metal band to take the world by storm, Eluveitie has always been a bit of a unique thing in the folk metal scene. Really, the band has tremendous success when compared to other bands in the genre. After being picked up by Nuclear Blast, they’ve had three albums, big American tours (something that has only started recently for the genre) and become very well known and well loved among folk metal enthusiasts and just regular metal enthusiasts alike. Everything Remains (As it Never Was) is the band’s big third record from Nuclear Blast (5th total) and it is set to make a big metal splash.

Frankly, the band hasn’t changed anything, except that they’re more poppy than ever. Everything Remains (As it Never Was) starts out with the obligatory album intro that sets the stage for the whole album (and a sad part from Braveheart). The tracks are heavy and well-produced, but much cleaner than earlier work, and the trilling flutes and bagpipes permeate every chorus of this album, formulaically building up to the climax of almost every song in precisely the same way. At its base, Eluveitie is basically a melodic death metal band. This stood out to me as I listened to this album: tracks like “The Essence of the Ashes” have obvious In Flames leanings on the guitars. “Kingdom Come Undone” and “Sempiternal Embers” both reek of Hypocrisy and Dark Tranquillity and the only thing that actually differentiates this band from those bands is the ability of the musicians to swap out what the guitar would normally do in a DT song for a flute, fiddle or bagpipe.

But Eluveitie isn’t just a melodic death metal band, they’re a modern melodic death metal band—I’ve never really put my finger on this before. There is a ton of stoppy, “Core” riffs on this record that are simply offset by a trilling flute. The choruses are huge, poppy and bordering on schlager at times in their structure and enormity, leading often times to a sense that the verses are simply there to connect big catchy choruses to each other and for no other reason. The band has also dumped the blast beats that one hears on the earlier records completely, leaving the band far more in the post-glory days Swedish Death Metal (i.e., Gothenburg scene) arena. The song structures are quite simple and similar to each other, and because the flute basically does the same thing all the time, the songs start to sort of blend into one another. This is partially because the sort of Riverdance flute style doesn’t really lend itself to memorability, but feels more decorative than anything and the guitars and vocals don’t offset it—leading to swaths of unmemorable trilling.

Of course, there are high points on this album, too. The points where they actually point themselves in a more folk metal direction are the parts that I really appreciate about Everything Remains. For example, the chorus in the song “The Essence of the Ashes”, where they break down into clean vocals that are reminiscent of Fejd, is a major win. The folk tracks that are sort of devoid of metal are also quite beautiful and breathtaking; “Isara” and “Setlon” both set an atmosphere of beauty and simplicity which embodies the title of this album. My personal favorite track on the album is “Lugdunon” which, while it’s built on a production trick in the beginning, has excellent dynamics that are not really demonstrated on other parts of the album, including an amazing flute melody and a super 80s rock sounding breakdown that really stands out from the rest of the album.

What this leads me to is that variation, dynamics and a new approach to the metal aspects of this album are lacking. While there are some compelling songs and moments, this record generally falls short of my expectations due to its more simplistic and poppy elements, which are the things that draw the listener to the band in the first place. While Everything Remains (As it Never Was) is definitely on par for quality with Slania, I don’t think it’s as strong as Spirit and that’s probably because the sound isn’t as novel or fresh as it was when I became infatuated with “Your Gaulish War”. This band is definitely not mediocre, but this album is not what I was expecting from it. Of course, you can (and should) check for yourself (as the band has posted the album on MySpace through the 19th of February presumably).

Orphaned Land // The Never Ending Way of ORwarriOR
Rating: 5.0/5.0 — A work of art
Label: Century Media
Websites: orphaned-land.com | myspace.com/orphanedmyspace
Release Dates: EU: 25.01.2010 | US: 02.09.2010

Few bands will ever make their own mark on a genre of music—it’s just a statistical rarity. Someone once told me that there are something like 5 million bands on MySpace, if that gives you an idea of the breadth which exists when one is thinking in terms of how many musicians there are out there. Of those, most of them probably last longer than a year, never produce much of a demo much less get signed to a real label—and how many ever produce a real step forward into a new decade with a statement of great things to come? The chances of becoming a professional musician are basically NIL and then of the number that do, how many ever produce something that will be remembered and affect enough listeners to ever influence any? That number is even smaller. Orphaned Land is one of the few bands that will ever exact change in metal and they are doing so now with their new record The Never Ending Way of ORwarriOR.

For those of you not “in the know,” (though frankly these guys are on Century Media if you don’t know by now…) Orphaned Land is progressive death metal act from Israel who produces masterpieces at a snail’s pace. However, they do, in fact, produce masterpieces. To do the band no justice at all, imagine Orphaned Land as the culmination of progressive metal (in the vein of Opeth and old Paradise Lost), traditional heavy metal and folk metal. But not Otyg, Eluveitie or Finntroll folk metal, which is very much a northern Europe kind of thing, but instead blending in all the textures and unique flavors of “oriental” and middle-eastern instruments and big orchestrations into one cohesive, and epic as hell, whole. Blend all of that in with a tendency to get a little chuggy at times with off-tempo and syncopation and beautiful female vocals and you have Orphaned Land.

For fans of the band, The Never Ending Way of ORwarriOR picks up where Mabool, the band’s 2004 (!) release, left off. Well, musically, that is. Despite the 6 year break, the sound is still remarkably fresh. This might have something to do with the fact that this album was mixed by Steven Wilson (Porcupine Tree genius-at-large, temporary keyboard player for the band and Opeth go-to guy for Blackwater Park, Deliverance and Damnation), who added some of his distinct, trademark sounds (see: telephone line vocals, mellotron keyboards, etc.) to the album giving the tracks a different flavor than Mabool had—though, I’ll guess that a higher budget probably had something to do with that as well (though this is conjecture). The tracks flow into each other perfectly, balancing mid-paced death metal riffs and mid-range death metal growls against folky klezmer sounding pieces and huge sweeping orchestras which use unison violins to imitate old Lawrence of Arabia style movie soundtracks—a stunning and chilling effect, surprisingly. [Editors note: it was confirmed for me by Kobi Farhi that this orchestra is indeed the Nazareth Orchestra, which plays the violin in a different way and that it was chosen specifically to give this album a different approach.]

As Mabool before it, The Never Ending Way of ORwarriOR is a concept album—but the unfortunate side-effect of promotional media is that I have not received lyrics to give you a picture of the story. However, from what I’ve read elsewhere on the net and from the band’s own statements it is clear that they are maintaining their overarching theme of the unity and common ground of Islam, Judaism and Christianity—even appealing for peace openly on the track “Disciples of the Sacred Oath II” and singing in Arabic for the first time on that track. In a sense, these guys are breaking ground with this stuff, too. Without being an overtly religious band, they have broken away from the confines of EEVIIIIL heavy metal and moved into the arena of smart, appealing and interesting themes on their own. This gives the band a sense of sincerity that I think a lot of bands lack, and gives them credibility overall.

I admit freely that Orphaned Land has pretty much cemented its place as one of my favorite heavy metal/progressive bands of the modern era and, frankly, ever. The complexity of the thought processes, the writing, the arrangements and production are not lost on me and I encourage everyone to give this a record a listen in high quality earphones, because that is to some extent how it deserves to be listened to. I suspect that I will be listening to this album every day for a long time to come, despite the huge number of CDs I should be reviewing, because I can’t keep myself away. And if it holds up as well as Mabool has to the years, then I strongly suspect I’ll be about ready for a new album in 2016 when they finally get back around to it.