“I’ve always found the notion of “folk horror” to be altogether more ominous and scarier than psychopaths stalking teenagers. Rural settings, pagan beliefs, blood sacrifices, normal people committing terrible acts in the name of terrifying superstition … this is all deeply compelling stuff. They Came from Visions, an anonymous Ukrainian black metal outfit, clearly agrees.” Fear wears a Snuggie.
“You may recognize Útgarðar’s two members, as American instrumentalist Niðafjöll (Nathan Verschoor) is known for his work with recent Uada, Veiled, and Altars of the Moon, while Swedish vocalist/guitarist Seiðr (Andreas Westholm) features a storied discography with acts like Blackest, Seid, and Serpent Omega.” Wotan smiles upon you all.
“On the surface, the perceived lethargy of stoner metal doesn’t seem like a natural match for the reckless energy of punk. But the two genres have been roommates since college and still bunk together regularly. The soundtracks of Jackass and Tony Hawk’s Pro Skater mixed them up freely, and bands like Clutch and Fu Manchu have plenty of popularity on both sides of the fence. When I saw Rise Against in March of 2011, they brought Coliseum, who fused stoner, hardcore, and punk into one. So I wasn’t particularly surprised at Bokassa’s self-appointed genre of stoner punk. I was more surprised, and apprehensive, at Lars Ulrich of all people giving them the seal of approval.” Big friends, dumb punks, and stones.
“Storytelling is intrinsic to the passage of knowledge from generation to generation. Within our steel-forged corner of the multiverse, a few subgenres tackle storytelling overtly: most often prog but also, as is the case today, power metal. Coming into this review, I was under the impression that the story of Conan the Barbarian was confined to the plot line of an old Arnold movie—I couldn’t have been more mistaken. The Hyborian Age is a sprawling prehistoric world designed by Robert E. Howard in the 1930s, set between the fall of Atlantis and the rise of traditional history. Enter French band Nemedian Chronicles and their 70-minute slab of sword and sorcery, ripped straight from the pages of Howard’s tales.” Swords, hordes, and chords.
“Having spread the spectrum of their influences across a few EPs, Ponte del Diavolo reigns in the fettering ambience and shriekier black metal extremes of their formative work for this debut full-length. In this regard, these witchcraft-worshipping Italians come across like a punk-edged, tremolo riff-informed Sabbath Assembly, with mic-echantress Erba del Diavolo capturing the same essence of cult-fearing warble that a fervent Jamie Meyers possesses.” Tomb knives.
“In 2016, Far Beyond’s A Frozen Flame of Ice felt like a big deal. The sophomore outing of one Eugen Dodenhoeft saw his budding solo project, having originated as rough-hewn symphonic black metal, blossom into massively ambitious melodeath with a pioneering work of post-debut Wintersun knock-offery. It’s a somewhat clunky effort, but a lively and lovable one, and one whose charms have prompted several return visits over the last decade. While impressive and novel for its time, many a band has since come knocking at the sauna door.” Road closure.
“How deep is your backlog of albums you intend to give a full spin sometime, but you never get round to it? I couldn’t even begin to tally mine. One of the albums that has languished in this limbo is Godless Prophets & the Migrant Flora, the previous release from melodeath veterans Darkest Hour. I remember liking the slice I tried, but with so much to listen to and so little time I failed to give it my full attention. Grymm sure loved it, though, and in his absence, I was more than happy to step up and finally give the band the attention they deserved from me.” In the darkest hour, we cried more, more, MOAR!
“Sometimes a promo one-sheet actually does its job and gets you incredibly curious to hear something. That was the case with Ireland’s unusual death metal act Vircolac. I had no knowledge of them, but the one-sheet made it sound as if I had to hear their sophomore release Veneration or risk missing out on something unique and special. Steel hates missing out on something good as much as the next Viking gorilla so I grabbed it and stashed it in the Jungle Room. The trials and tribulations began soon thereafter.” Faulty venerator.
“As I sit down to write this review, it’s occurring to me belatedly that I’m not fully sure how to describe the music I’m sitting down to describe. The four members of Tvinna, in their sophomore full-length album, demonstrate that they are many things. They are European, with members hailing from Germany and Switzerland. They are experienced musicians, with members in Eluveitie, Solarcycles, and Faun. They are well-read and well-researched, presenting in Two – Wings of Ember an album that is entrenched in folk tropes and rich in both history and mythology.” Two wings, one band.
“The clamor of zhangu, taiko, ahuli, tabor—even the timpani in a modern orchestral context—the steady hammering of the battlefield finds a comfort, an attachment to the mallet metronome of such simple instruments. In memory of sorrow, the rhythm of death metal through one of its most bass-rumbling pioneers, Bolt Thrower, finds that war-like march not just in pounding kicks but also weighted guitar harmonies and bass-throttled grooves that stir the warrior’s heart. Stygian Crown in their idiosyncratic expression of the metal arts embodies in part that low-end fueled, sword-rattling thunder. But as the title Funeral for a King may imply, and as the Steel One himself has explored before, Stygian Crown doesn’t just riff, they doom. Oh, do they doom!” Crown Thrower.
