“Magnus Pelander, the sole remaining founding member of Witchcraft, takes the reins on Black Metal, seemingly completely. There is his voice, and there is soft plucking on an acoustic guitar, and these two sounds comprise almost the entirety of the Black Metal sound. It sounds very different than the Witchcraft usual — certainly, it stands completely apart from Legend and Nucleus.” One man, one guitar.
![Chelsea Wolfe – Birth of Violence [Things You Might Have Missed 2019]](https://www.angrymetalguy.com/wp-content/uploads/2019/12/ChelseaWolfe-BirthofViolence01.jpg)
“Chelsea Wolfe’s respected and increasingly revered status within, and outside, the metal scene has steadily grown in recent years. From humble beginnings of her experimental goth-folk early works, to the enchanting Pain is Beauty, Wolfe really hit her stride on 2015’s eclectic masterwork, Abyss.” Birth is violence.
Earlier this year I wrote a “YER METAL IS OLDE!” article about the ongoing influence of Ulver’s epic Bergtatt, a classic by any measure. But in some ways, it only introduced a ‘trope’ of sorts that has become one of my favorite parts of the underground metal scene: the harmonized acoustic folk record. And while Ulver only did it once, on Kveldssanger, October Falls—whom you certainly have heard of if you’re a long-time reader of Angry Metal Guy [or other blogs I guest/write for]—produced a number of excellent acoustic records in this vein. These included a full length by the name of Marras, two EPs entitled Sarastus and Tuoni, and a number of singles. These are all available as lossless files via October Falls’ BandCamp website and worth purchasing, if you don’t mind spending money on a digital, lossless format.
