Angry Metal Guy

This little gem fell from Odin’s mighty beard in the waning days of December and since that time of year is so hectic, this may have eluded the attention of many metal-minded folk. Steel Druhm simply cannot abide such a ruinous oversight. Why? Because the U.K.’s Forefather plays such a highly endearing mix of black, viking and folk metal with some power and NWOBHM tossed into the Anglo-Saxon stew. Over the course of five albums, they’ve honed that mix into an insanely catchy, guitar-driven style of epic-infused music. With Last of the Line (Seven Kingdoms Records), that honing continues unabated and this is one sharp ass piece of jagged iron. Though Forefather consists entirely of two brothers (both appear in Folkearth as well), they know exactly how to blend genres and craft tunes that alternate between catchy and heavy, epic and black and most of this material is designed to stick deep in your brainpan. Stylistically touching on Falconer (or Mithotyn to be more exact), Running Wild, Tyr, Crom, Ensiferum and Amon Amarth, they manage to carve out their own identity and I’m betting after hearing some of this stuff, you’ll join me in wondering why Forefather isn’t more of a household name in metal… houses. Continue reading

Equilibrium // Rekreatur
Rating: 2.0/5.0 — Happy but boring
Label: Nuclear Blast (EU | US)
Websites: equilibrium-metal.net | myspace.com/equilibrium
Release Dates: EU: 18.06.2010 | US: TBA

Equilibrium hit the world right in the face when Sagas was released a couple years ago and they really became a folk metal (pagan metal, viking metal, whatever the fuck you want to call it) sensation. And sensational is really how many people experienced that record. It was like a cross between Finntroll, Ensiferum, Turisas and Rhapsody of Fire: unceasingly melodic, over-the-top, ridiculously happy and engaging as hell. In 2010, now, this elite German act is returning with a follow-up to what is already considered to be a classic in the genre, with their third record entitled Rekreatur. How could it possibly live up to all the expectations? Continue reading

Istapp // Blekinge
Rating: 4.5/5.0 — Retarded good.
Label: Metal Blade
Websites: istappofficial.com | myspace.com/istapp
Release Date: EU: 04.06.2010 | US: 06.08.2010

Sweden’s Istapp (translation: icicle) was a big surprise for this Angry Metal Guy. A Swedish melodic black metal from Blekinge Län (which is basically the far south of Sweden) I had never heard of them. They’ve been around in the scene for a while, apparently, having released several demos and then a demo compilation (with practically the same track list as Blekinge). More surprisingly, the band’s vocalist is reported to have been in Spawn of Possession until 2009, which is a strange connection given that the band is at almost the opposite side of the spectrum from the well known and worshiped tech-death band. But while Istapp isn’t going to win any awards with the hardcore fans of black metal with their clean vocals, their pristine production and their melody, they are certainly going to win a lot of fans who like their metal fast, melodic and, more importantly, awesome.
Continue reading

Kalmah // 12 Gauge
Rating: 3.0/5.0 — Fun, but pretty generic
Label: Spinefarm
Websites: kalmah.com | myspace.com/kalmah
Release Dates: EU: 03.03.2010 | US: 04.06.2010

It’s hard to imagine a modern metal without Finnish bands, isn’t it? These guys have been pushing the scene forward for quite a while after having burst onto it with such a forceful manner a decade (or more) ago. One of the bands that has been sadly overlooked in this process has been Kalmah. These guys, while popular, have often taken a back seat to bands like Ensiferum and Children of Bodom in the international scene. This is a shame, because at least The Black Waltz put everything that Children of Bodom ever put out to shame and they make some of the later Ensiferum stuff look pretty weak, as well. While For the Revolution was a pretty big letdown for many fans, Kalmah has returned in 2010 with a scorcher called 12 Gauge.

Clocking in at an LP safe 42 minutes, 12 Gauge follows Angry Metal Guy’s rules for thrashy records with few dynamics: keep the songs short, and keep the record as a whole shorter. If you’ve only got a few tricks up your sleeve, show off those tricks and then run to hills before anybody notices that you’re not doing much more than something fairly simple. 12 Gauge fits this bill perfectly because what Kalmah is doing is very straight forward: they’re making melodic death metal which is meant to be energetic, fun to listen to and cathartic. It, however, is not at all “jaw dropping”, “technical” and it certainly doesn’t really push the envelope very much.

But hell, we don’t need every band in the world to push the envelope. Sometimes you just want some good melodic death metal to listen to while drinking a beer and banging your head, and that’s what Kalmah delivers in spades on 12 Gauge! Tracks like “Bullets are Blind” and “Hook the Monster” are blast happy, speed monsters with great melodies—the latter even containing a chant chorus! How do you fight with that? The band even breaks out their simple, melodic intros and puts them to good use on the title track and “Better Not Tell”. The  melodies are, of course, addictive and the song writing is poppy and keeps you interested by not overstaying its welcome.

However, the downsides to this should be obvious as well. There were times when I didn’t even notice the track had changed at times—such as between “Hook the Monster” and “Godeye”. They’re both great songs, but man do they sound alike. And, while the claim that they’re just writing the same song over and over is demonstrably wrong, there is a sense that this record gets a little tired towards the end. Were 12 Gauge 10 minutes longer, it probably would destroy the appeal for me.

If you love fun, fast and melodic death metal, then 12 Gauge is definitely up your alley. The band has definitely composed a number of awesome tracks that will pull fans in. For the doubting fan, this record is definitely superior to For the Revolution, but we’re not sure if it really surpasses The Black Waltz in scope and originality. While the style is definitely the same, the novelty hasn’t stayed on as strongly. Still, 12 Gauge is a record that is enjoyable and innovation be damned.

Oskoreien // Illusions EP
Rating: 4.0/5.0 — Great! Looking forward to a full length.
Label: Unsigned (Name your price for it at Band Camp)
Websites: oskoreien.bandcamp.com | myspace.com/oskoreienband
Release Dates: Dec. 31st, 2009

Oskoreien is another one of those DIY projects that I was directed to which delighted me to check out. There was a time when you, as a metal guy, probably got friended by Oskoreien on MySpace, when the creator was in full-on promo mode. The tracks that I remembered hearing were very much in the Ensiferum / Wintersun kind of vein. Lots of sweep picking and sort of melodic death influences. So when I got my hands on the Illusions EP I wasn’t sure what to expect.

Turns out that Mr. Valena had released something I wasn’t expecting at all: basically post-black metal. Illusions opens with a short acoustic passage and then launches into the first 13 minute track, a piece called “Transcendence” in good form. The melodies are solid, but simplistic. The guitar work on here isn’t like Ensiferum or Wintersun at all, but instead much more black metal: trem-picked over blast beats and minimalistic, with very little ornamentation. This doesn’t mean, however, that there is no musical sophistication here—just the opposite, in many ways this material feels much more sophisticated than Velana’s earlier work (not to say that it was bad, mind you). The ability to take simple passages, simple harmonies and beautiful chord progressions and make them shine like he has shows a solid understanding of composition and just an all around good ear.

These tracks are quite atmospheric, as one could expect. They land firmly in the Ulver and Agalloch territory with reference to both the acoustic guitar style and composition styles. Jay’s voice is also very similar to Garm’s old singing voice in the early Arcturus, Ulver days like what one hears on Kveldssanger and La Masquerade Infernale. He has a very forceful, vibratoless kind of delivery that is equal parts beautiful and creepy. Sometimes it sounds a little bit too forced for my liking, but it fits the atmosphere perfectly. And let’s face it, he must be doing something right if I *want* to listen to 23 minutes of music split into only two tracks.

My biggest complaint about this is the production, but not in the way that one would expect. The guitars have a lot of reverb on them, which sort of pushes them back in the mix and with the drums so high in the mix, but also so obviously a drum machine, it feels a little jarring sometimes. These are quality samples, but they have that sort of modern “tinny drum” kind of sound that I think should probably be avoided. Other than that, this record shines. Both tracks are well-composed, well-performed and worth checking out. And, once again, it’s a “name your own price” kind of deal, so I strongly suggest you go and download the thing and donate to Oskoreien‘s future.

Månegarm // Nattväsen
Rating: 4.5/5.0 – Excellent! Sounds a lot like Vargstenen, but who thinks that’s bad?
Label: Regain Records
Website: myspace.com/manegarm | manegarm.com
Release Dates: EU: 19.11.2009 | US: 11.22.2009

Nattväsen (Night Creatures) is the name of the new Månegarm record, and one that works well with the feel of the entire album. Clocking in at a good LP length of 45 minutes, this record explores musically and lyrically the fears which we as humans have had as long as there has been night. Those fears of the things that creep out of sight, be it the ghost of a mountain (“Bergagasten”), the creatures in our dreams (“Nattsjäl-Drömsjäl”) or a mythical creature (“Draugen”). This concept seals together a record of some of the best folk/viking metal that is currently available by any band.

Honestly, I’m a sucker for Månegarm‘s style. It’s like a great big blend of Otyg and Amon Amarth. Fusing the melodic death metal with more clean vocals, folky riffs and melodies and violins leads to some of the best riffing and memorable tracks I’ve heard on any record this year. It’s the kind of stuff that makes you rock out at the time and then, later, when you’re doing whatever you’re doing (in my case it was doing dishes—you know, angrily.. ’cause that’s what Angry Metal Guys do..) you start whistling melodies.

Really, the songwriting is great. While the structures are often pretty traditional, they keep it fresh enough with a good mix of thrashy clean vocals, good vocal harmonies and death metal vocals that you never feel like they’re falling into too much repetition. The musicianship isn’t over-the-top progressive, but there are some pretty bad-ass electric violin solos from the poofy-haired member of the band (Jan Liljekvist) and the band is equally comfortable writing good clean parts, and even a full acoustic track (“Delling”) which signals the dawn of a new day.

It is this kind of musical and conceptual cohesion that makes Månegarm the cream of the crop in this genre right now. Their ability to consistently write intelligent, coherent records that smack of musical taste and maturity at the same time as writing addictive, sing-songy melodies (visor) is something that I think is phenomenal. There are not many bands that have the same musical breadth and depth as Månegarm does, while not making their music pretentious and out of reach. And while this record is not a terrible departure from Vargstenen, why break down the formula that is obviously working for them? The only major format change is that it feels like the songs have more folk-breakdowns than on Vargstenen.

Simply put, there isn’t a bad track on this album. My favorite is “Nattsjäl-Drömsjäl,” but every song on here, including the acoustic one, stands up to the test. The band also does a good job of linking things and creating a feeling of creepiness and uneasiness at various points in the album, which definitely lends to the concept being such a phenomenal success (see: “Hraesvelg” and “Nattväsen” for examples of this).

All-in-all, this is a great record with all the working parts in order. I honestly hope this record thrusts the band more into the public with some better promotion and a good touring package or two (you hear that Heathenfest organizers? These guys are so much better than fucking Blackguard). Sure, all the lyrics are in Swedish, so it’s a little harder for an English language audience to really pick up on it, but Ensiferum and Korpiklaani really enjoy more success internationally—I’d like to see the same for these guys, because they deserve it.

Awww, yeah.  I’m totally fucking stoked.  According to Ensiferum‘s myspace page, the band has confirmed some details and we’re going to be getting a new record in September!  So, uh, yeah.. Also, for you Americans who read this thing—these guys are touring the states: GO SEE THEM.

Finnish folk metallers ENSIFERUM have set “From Afar” as the title of their fourth album, due on September 9 via Spinefarm Records. The CD was produced by Tero Kinnunen (NIGHTWISH, AMORPHIS) and Janne Joutsenniemi (‘Victory Songs‘ producer) and was mixed by Hiili Hiilesmaa (HIM, SENTENCED, AMORPHIS).

The track listing for the CD is as follows:

01. By The Dividing Stream
02. From Afar
03. Twilight Tavern
04. Heathen Throne
05. Elusive Reaches
06. Stone Cold Metal
07. Smoking Ruins
08. Tumman Virran Taa
09. The Longest Journey (Heathen Throne Part II)
10. Vandraren (limited-edition bonus track; NORDMAN cover)