Showing posts with label Finland. Show all posts
Showing posts with label Finland. Show all posts

Tuesday 25 October 2022

Old Sorcery "Dragon Citadel Elegies" (2022)

 

In concluding the "castle trilogy", Finnish composer Old Sorcery masters their mysterious craft. Perhaps one to be labeled a modern Dungeon Synth classic, Dragon Citadel Elegies culminates its finest aesthetics for an epic adventure. Woven with elements of Fantasy, Dark Ambience and soft touches of Berlin School electronics, a diverse arsenal of instruments converge on glowing visions. Both its lurches into foreboding darkness and deliriously majestic daydreams find cohesion. Across five mighty songs we explore the peculiar crevasse of an imagination so rich and lucid.

In spellbinding fashion, the grandeur of its themes smother the listener, a fine craft of composition and execution where very minute detail of design seems articulated with brilliance. The balance of intensities, reverberations and tonality of its instruments illuminate otherworldly tunes. This elevation of components seems steeped in unbounded inspirations. The quirkier, playful melodies seem almost Harry Potter akin, as magical bells jostle and chime in nightly gusts of wizardly winds.

Either lurching in cold shadows or bustling through night skies, a zest is always in the air. These paths are well walked as the music bestows a clear vision of fantastical realms home to magics that don't lean into the atypical moods this genre has become accustom with. This has always been a part of what sets Old Sorcery aside. Still growing as a musician, these stunning forty minutes gets at the essence of its identity.

The final song, A Haven, does linger somewhat on its lengthy exit. An intriguing start drifts into its most subdued passageway, however a transition to a final majestic curiosity seems intentional in design. Perhaps leaving us with an appetite for more? Its clear we have been treated to the best offering yet. Who knows what could follow?

Rating: 9/10

Tuesday 13 September 2022

Andrew Odd "Discoveries" (2015)

 

Seeking out more cosmic Pysbient by Andrew Odd, his earlier Discoveries ventures close. Downtempo beats are stripped out, pacing set in rarity by rumbles of deep bass and jolting sequenced synths. My favorite track is the one exception. Unknown Phenomenon builds steadily, the reverb soaked snare and complimenting thump of the bass kick amp up intentions. It lingers on this trajectory for some time before unleashing a gratifying closing astral melody. This is the craft I was seeking.

The rest of the records dealing in shades of spacey ambience brought about by combinations of dense electronic strings, murmuring bass noise and lofty, airy synths. These songs most circle their own tensions, drifting from resolution and lingering in the peculiar spaces as ambiguous textures and halfway tunes assert themselves.

The most remarkable of which is Leaving, the opening track. Its perpetual sense of abstract existence is bestowed by a cloudy organ synth tone. It holds an odd tension of possibility beyond what we know. Presiding through its entirety, encounters with grandiose string sections feel significant and momentous, as if observing first contact from a distance. Its distinct and special, the rest of the record offering more temporal solitude but never quite escaping to the extraordinary. A fair set of ambiences.

Rating: 6/10

Friday 9 September 2022

Andrew Odd "Life" (2015)

Seeking more of the Random Thoughts magic, Life of five years prior has flickers of a neighboring charm. Its opener, the lengthy, tense Spark, and aimless dreamy closer track, Darkness, both brood on airy tensions of lofty synths, uneventful soundscapes mulling over their own individual moments. The three songs between venture out of cloudy ambiances with pleasantly subdued encroachments of melody. Drifted along by spacious Downtempo grooves, deep baselines hum with mono-tonal force to reinforce its persuasive percussion.

Unlike the cosmic vibes to follow, life rests gently with the beauty of earthly things to inspire its mellow moods. Always calming, the chemistry of instruments soothes through its effortless pace and welcoming tones. Airy synths house spurts of aimless electronic melody as its motions stew on the feeling of each track. Wonderfully crafted, they can probably fit a variety of feelings the listener might have. Its spell is fantastic for focus, a delight to enjoy when tasked for work. Its only flaw is a lack of depth with only two thirds of its thirty three minute stay being the sweet stuff.

Rating: 5/10

Tuesday 23 August 2022

Timewave "Solar System" (2010)

 

This is Timewave, another intriguing project of Andrew Odd's and another realm that feels familiar. As a mash of Progressive House, Downtempo, Trance and 90s Dance, its energetic pulse and throbbing percussion cruises on by with an intensity for the dance floor. Despite the elevated sensations, it maintains a calming atmosphere as slowly sweeping stringed synths sooth these absorbing dips into nighttime club life, where Its astral component is loose, a keen suggestion that fits the character. If not drifting through the endless cosmos, a variety of ideas could provide its theming.

Dizzying arrays of sharp arpeggio electronics whirl in dynamic oscillation, layers of busying electronic aesthetics stacking into a smothering wall of sound. Its dense with foggy atmospheric synths buried behind its tapestry of noises, all cohesively moving in the same direction. Its freeing, often euphoric but the magic is always birthed with the percussion strikes. Deep bass grooves jive at dance-able tempos thrusting along an infectious freedom to move your body. Its the persuasive magic of club music brought to an atmospheric flavor, both rich, uplifting and powerfully magnetic.

For all appraisals aired, I could simply be reveling in a genre of music that often doesn't quite serve the introverted vibes I adore. Its 90 minute construct of ten lengthy tracks also doesn't fit the album experience. Solar System is more of a "tune in and drop out". All its song structures are built on simple cycles of phasing intensities. Slow build ups brood into percussive drives before calming the crowd to charge back in again. Not all its aesthetics and samples land equally, especially in the build ups but once arrival has transpired, it always feels right when the pounding drums swell.

You can just jump right in whenever you want that deep focus, which is another interesting juxtaposition about its energy. Despite rocking a throbbing pulse, its dense aesthetic and liveliness is strangely meditative, locking you into its groove both as foreground and background music. Although I am in the initial excitement stages, its clear I've found something fit for another niche of mine. Andrew Odd is one to watch!

Rating: 7/10

Sunday 21 August 2022

Andrew Odd "Random Thoughts" (2020)

  

Spotify is sussing my tastes out and the spacey ambience I adore has been served up. Finnish cosmonaut Andrew Odd caught my ear a flavor of deep space I couldn't resist. Hints of Downtempo momentum burgeon from its lurching percussion, brooding awaiting release. Birthed out of deep pursuing bass pulses, long adorning synth strings and cloudy ambiences mull in the void. Minor textures become major melodies in its astral unraveling of otherworldly marvels. Steadily they build, sparse lifeless tunes bloating to wild animations as gusto is mustered to venture forth boldly.

Cosmic storms, celestial bodies and colliding nebula illuminate in the blink of an eye. One drifts by, radiating in observation, then continuing momentum off into distance shadows, unable to change course. These swells of magic best culminate with a drive of powerful percussive grooves. Mechanical and stiff, the repetition aids the moment with a lively presence far from its humble, dreamy origins. Only a feature reserved for three of the five tracks, its more ambient oriented cuts are a fine craft too.

Likely inspired by Carbon Based Lifeforms and others in this spacey realm, the execution outstrips its similarities. These experiences are so well crafted, visions to be inhabited for lovers of these vibes. Andrew straddles an interesting line where his forever expanding soundscapes will go from subtle temporal remedies to mesmerizing distractions yet somehow serve both the background and foreground of you're musical attention span. Riveting stuff, an immediate classic "go to" for my introspective moods.

Rating: 8/10

Tuesday 13 July 2021

Old Sorcery "War Of The Old Kingdom" (2021)

 

It is my guess that the recent Hand Of Merlin soundtrack left the Finnish musician with inspiration and ideas that have spilled over to this wondrous three track EP. They are somewhat disconnected from one another yet equally fantastical, the thematic moods and drama of the OST had Old Sorcery reaching into new territory. Now clawing it back into the Old Sorcery cannon, a familiar esoteric, foreign and cryptic voice narrates these three adventures, giving them a loosely unifying through line.

Council Of The Battle Sorcerers is an eight minute epic of distant tensions, epics yet to be told in a fantasy realm of gleaming beauty and natural magics. It steadily journeys through majestic scenery, the discernible words of a shadowy, ancient voice ushers in moments of creeping darkness that never outpaces the warm embrace of this lush soundscape. Its adventurous melodies, through many phases, continuously usher in a magical warmness fit for a world of fantastical beings devoid of technology.

Triumphant Eyes ramps up the intensity in a sudden change of direction. The drums of war beckon, tense strings heed the call of battle and a sense of coming destruction broods. Its an animated number of moving parts and scenic magnitude fit for a big screen epic. The drama is flushed aside as our cryptic narrator returns over the sounds of sword and shield clattering on the battlefield. From there though, things steadily unwind and fizzle out for echos of the voice to call again from the ashes.

Echoes In The Stillness is perhaps a crossroads between the two. War drums drive the track forward as its melodies linger between the fantastical and illusive mysterious of this fantasy realm. As the drums pull out it meanders its direction to that recurring voice again, this time a little less potent in direction and theme. Overall this is an impressive release bringing new ideas into the fold but aside its one unifying element, seems a bit disjointed track to track. It is all immensely enjoyable though.

Rating: 5/10

Tuesday 30 March 2021

Shade Empire "Zero Nexus" (2008)

 
Released five years before their almighty Arcane Omega, Zero Nexus is another fumbling block on a patchy path of production hell that seems to drop the ball for the same reasons once again. Putting forth its extreme elements in imbalance, it is the snarling snout of Harju that groans its guttural filth loudly with a textured harshness to drown out the quite and underwhelmed synths. The distortion guitars too have subtlety drained as the details of its fretwork get lost under the mechanical rattle of pounding drums.

Its musical ideas are lost in the muddy wash of sound that pivots on a lot of Industrial grooves. Interchanged rhythmic pummeling drives on harshly as the strike of snares and kick drums flood the music with aggression. Attentive ears can pick out the pianos, strings and electronic tones dispersed between, all blemished by a lack of power and presence. Even direct focus doesn't let the chemistry elevate but it does yield a certain curiosity about them. When the music parts from its charging instruments, often with a percussive break beat of sorts, even then does seem tamed.

Its worst element are the vocals which could really do with being toned down behind other sounds. The range of gutturals displayed tend to lack power and potency, instead hinging on a throaty roughness, especially dialing up the cringe on its halfway clean attempts. Its god awful and a constant distraction from interesting song structures and arrangements that take place in the ebb and flows. Of the handful of spins I've given this I just can't get past its awful production, so disappointing.

Rating: 4/10

Monday 8 March 2021

Shade Empire "Intoxicate O.S" (2006)

 

One step forward and two back, Shade Empire's sophomore effort seemingly faces issues both musical and aesthetic. The strange synth loudness production of Sinthetic highlighted a hidden strength but on this effort it is overwhelmed by grating metallic aggression made harsh by its ear grating production. Its opening track Slitwrist Ecstasy sets off alarm bells as the howling rattle of a loose snare overpowers everything around it. Creeks of spectral keys struggle to glimmer between the rumbling rattle of percussion and the snaky guitar tone that sucks up all space beneath it. The balance is poor, the ears do adjust with familiarity and repetition but the albums biggest strength has been cast to the shadows, a reverse of what came before it. The synths are now all to quiet to have the impact they deserve.

With vocalist Harju wrenching out his meaty shouts and counterpart snarling whispers in the front line, the aggressive context dominates as the drums barrage track after track. Its an unsurprising affair of riff arrangements and drum patterns that pale on their lonesome. In some moments where the pace cools off, one can hear the web of synths woven in too forge a powerful sense of atmosphere and direction for the music. The issue is production, they are simply mixed in poorly and the thick slab of unappealing guitar distortion washes its power away. Its truly disappointing as one can hear the intention but is simply unable to indulge. The only occasions they come to the forefront are with the big cheesy synth tones... everything is out of balance.

Every spin has been an endurance test, how quickly will that unending snare drum take to ware my interest out? Well prior to the albums close Ravine, an entirely synth led composition, gets to shine in the wake of a slowed drum groove and lack of guitars in its opening. Even still its a gem in the rough, one can hear the dirty buzzing baseline in its opening, a reminder of how ugly this aesthetic is. Through that the piano melody and soft synths forge a nightly mystique to show that talent is present, if not held mercy to the bad sound design. Intoxicate is a very forgettable record, one I wont wish to return to, however if handled differently in the studio, my opinion and enjoyment could of been entirely different.

Favorite Track: Ravine

Rating: 4/10

Sunday 21 February 2021

Shade Empire "Sinthetic" (2004)

 

Having recently recorded my blog post on Arcane Omega for my music channel, I was prompted to explore the Finnish bands back catalog and thus landed here at their debut. Initially I writ it off as being a run of the mill record, however with each spin the melodies and symphonic themes rooted themselves, revealing a slice of fantastic songwriting here at the origin of their adventures. Sinthetic is not without flaws but certainly a stronger set of songs that you would initially suspect in their infancy.

As a Symphonic Extreme Metal album, its texture, tone and temperament exudes much of what Dimmu Borgir unleashed with Puritanical Euphoric Misanthropia a couple years beforehand. What Shade Empire bring to the table is an Electronic element tangled between its harsh metallic drive and swoons of symphonic might. The best of the record comes from the gleams of melody its orchestral tones usher in over the industrious workings of synth LFO's bustling away around its metallic template. Its design very much of the electronic scene, working its way in with an Industrial vibe.

Its quite the stark construct, the guitars feel distance with a narrow scratchy, plastic tone. The rapid drums rattle their way around with a lot of intensity. The bass guitar and low end is thinned out, the electronic osculations fire off with distance too. Harju's harsh, flat screams are too without depth, adding to this brittle production style. Its the symphonic keys, choral vocals and pianos that swarm the music with a warmness. Dense in tone and presence, they dominate the music on arrival.

These elements essentially carry the record which unfortunately pivots quite often to the drive of Metal techniques and arrangements that tend to have little dazzle. Its at its best when the keys take over, delivering theme, melody and might that swoons and takes off like a rocket. Its a mix of contrasts that works when smothered with synth and in doing so gives it an edge over what you might expect from this musical niche.

That echo's my opening statement, initially I thought it to be a typical record but in hearing the persuasion of Savolainen's arrangements blossom, it reveals a fractional magic. The reality is whenever the music hinges on its metallic footing its a rather dull affair. Its eight songs have their moments and when they do, its always the swirls of electronic synthesizer or orchestral gleam that births its magic. A peculiar record, one that indicates their symphonic genius was there from day one.

Rating: 6/10

Wednesday 16 December 2020

Old Sorcery "Sorrowcrown" (2020)

 

Concluding our journey for the time being we arrive at Old Sorcery's third album Sorrowcrown, a lengthy epic wading into Black Metal territory. Its unsurprising given the natural link between it and Dungeon Synth, however in my mind it comes a bold and unexpected move given how such a distinct style had been harnessed. This is no flirting affair but a full on plunge into bleak darkness, adopting many tropes of the genre and its modern flavors. Phantasm is the lone synth song, the shortest at thirteen minutes among three other gargantuan songs. Its opening half consists of brooding strings yearning for warmth, spelling a shadowy caution of unease felt under its majestic gleam. Its suddenly pivots with a minimal delayed synths echoing off the tense atmosphere over a quiet percussive pattern. Giving way to a rich, gleaming flood of suspended pan flutes, the ice thaws in a moment of beauty. True magic before descending into the esoteric unease of monk-like Gregorian chants, distant to the lurching whispers and lonely winds. That later part feeling somewhat stitched on.

Its other three songs are of the Metal persuasion, with only a couple of notable breaks into Dungeon Synth interludes. Leaning to the pale and narrow, its mostly of the Darkspace production style with a lack of high frequencies and clarity in scarcity as its bass, drums and shrill guitars become a muddy momentous force. Over its three songs the unending roar of blast beats and shrill howls finds a few notes of intrigue while mostly being reminiscent of artists who have walked thees paths before. Closer track Blades Of A Reflection manages to conjure a guitar and synth aesthetic almost mistakable for the classic Det Som En Gang Var, something I have strangely not encountered an emulation of before. Voidborn is a track toiling with maddening synths and mischievous melodies to encapsulate a devilish environment. After a meandering interlude it concludes with a beautifully slow and lunging riff playing out under glistening astral synths that swell brighter as the tempo drifts apart.

Fortress Of Molten Silver has perhaps the most interesting opening. A cryptic voice makes shadowy utterances as the guitar fuzz melds with synths. It feels short lived as the arrival of hazy lead guitars pluck sad, lonely melodies through the mud of sound, much like I Shalt Become, which tends to be the nitpick of this record. I don't think Sorrowcrown would have lured me in alone. Much of what it offers are ideas I've heard fleshed out well by other artists before. The chemistry Old Sorcery has didn't seem to apply to this project. Its a lengthy behemoth that slugs through tones of fantastic musical extremities toying with the black and beauty of night. In length it feels more like a meandering journey, fantastical but also a collection of ideas lumped together. With a lack of originality in the mix, its sudden pivots to new shades of intensity feel reminiscent of others. The mixing is also questionable, although low fidelity in nature, its blurry guitars and quiet drums always seem tough to get used to.

Rating: 6/10

Sunday 6 December 2020

Old Sorcery "An Inkling Of Void" (2020)

 
As the second of two, one track EPs between the albums, An Inkling Of Void immediately identifies itself as soft, reverberated, smooth oscillating synths play out minimalist melodies of eerie calm. Its the melodies of limbo, caught between sadness and rest, glimmering in the moonlight. Although its design is gorgeous and the aesthetic timely, its all to reminiscent of Burzum's twenty five minute epic, the first to my ears to establish this niche. That shadow looms as the spell cast is not as potent, however the song grows into its own as spacious bass saw murmurings usher in yawning starlight synths to steer the opening portion of melody to a scenic route.

Its then, that richer arrays of synths arrive to create a curious atmosphere. Its faintly reminiscent of Steve Roach but with an uneasy underbelly typical of Dungeon Synth. In this stretch, the meditative mood takes over and time drifts slowly by. Past the midpoint a brief heavenly uplift is teased when new tones shift the temperament but it plateaus and we return to the normality again. Eventually the music steers back around to the opening melodies, embellished by all that came between. This plodding ending feels conclusive and satisfying as it fades. I was Initially put off by the opening construct, it took all but a few spins for any preconceived notions to be shattered. Inkling has got a soft, sweet, secluded magic of inanimate shadows and starlight glow. A fair treasure to behold if you value this ambient temperament and sequestered mood.

Rating: 5/10

Wednesday 2 December 2020

Old Sorcery "Strange And Eternal" (2019)

Every once in a while a record gives me writers block. Its as if I can't pinpoint where the magic emanates. It is of course from the sum of its parts but on this outing the tranquil immersion into this enchanted realm is so indulging the whole record seems sequestered by itself. Of course sitting down to write, giving focus and attention more of its elements reveal themselves and yet its strange atmosphere still mesmerizes.

 Old Sorcery's staple-mark whirl of psychedelia synth tones is as ever present and more involved on this outing. They embed mystique into scenic passages of warm and airy beauty. Its slightly estranged, with a ghostly, ephemeral charm falling short of spooky or eerie. With a richer set of instruments and layers its ambience feels more direct and involved as playful, mischievous melodies dance frequently in focus.

At the middle track rolls around the clouds are overcast as mood and temperament shift. It brings out a cryptic voice of esoteric conjuring, lurching discernible words from the shadows. The song pivots to a magical moment of colorful madness as echoing pianos and trippy oscilating synths dance in a spiraling tandem. That crafty voice returns again here, and then on its final fifteen minute epic album closer.

After a lengthy brooding of classic Dungeon Synth styling, the voice arises with arcane reverberations, reciting in a tongue and tone fitting of an occult ritual. I believe it is simply Finnish, the title translating to "The Sleeping King On Fire". As a non-native listener, the ambiguity stokes majesty within this deeply mysterious music. Its the one new element that really stood out among the endlessly entrancing normality.

I still feel as if this record is alluding me but whats obvious is with more involved instrumentation and less of a focus on ambience and atmosphere, both these aspects are enriched by the boldness it strides with. It occupies a friendly space yet is still shrouded in mystery. One of its best aspects are the pivots, when sudden transitions arise they feel rather integral to the overall vision and momentum this time out. This is one record for me to return to often as its magic feels rather untarnished.

Rating: 7/10

Wednesday 11 November 2020

Old Sorcery "The Path Lies Hidden" (2018)

 

Another journey has begun, Realms Of Magickal Sorrow lured me in and now I've become obsessed with Old Sorcery! This fantastical fusion of Dungeon Synth and enigmatic oldskool Electronica is a fascinating one. Fortunately, there is more to be unearthed! Between albums are two twenty minute, one song gems. The Path Lies Hidden is the first and firmly straddles the line between halves, for almost its entirety.

Kicking off win the bass region with buzz saws and sine wave synths, the music resonates and rumbles as a rhythmic melody forges a path through the foggy ambience, a low distant humming. As it repeats over and over a variety of instruments play along, awaiting there turn like destinations on a cosmic journey. Crystallized synths and sparkling sounds dazzle in little eruptions of magic along the path.

As the pallet grows the music sways between its halves with cosmic synths dancing and playful Fantasy melodies chiming in. It even deploys those classic "strikes" of synthetic sound among echoing percussive hits like the pioneers did. Its a mesmerizing ride that comes to transition in the mid point, an unnerving darkness sets in as the repetitive melody is textured to a sound design less astral and cosmic.

In its final phase, the playful Fantasy melody returns to stay as we arrive upon our destination. Its a peaceful, charming place with a cold, lonely touch to it. Like a serine garden that's frozen over, Its beautiful but chilling and empty. The Path Lies Hidden is a powerful song with an indulgent persuasion that has made every spin a pleasure. It is currently my favorite song from this most interesting of artists in the genre.

Rating: 6/10

Tuesday 3 November 2020

Old Sorcery "Realms Of Magickal Sorrow" (2017)

 

Dungeon Synth can almost seem like a cliche of itself at times. With the similarly Old Tower fresh in ones memory, the haunting grayscale cover, a gloomy castle and cryptic band logo sparked my amusement, especially the name. It was as if a "starter pack" meme had been taken to heart. This is no fault of the Finnish musician but having consumed an abundance of this music, its tropes are often laid all to bare. I'm glad I didn't pass it over, Old Sorcery does indeed have a magic worthy of attention.

Opening with its decrepit lurching synth and lonely washes of airy ambience drifting from its piano chords, the slow paced drawl of decaying nostalgia unfolds without surprise. Its atmosphere holds majesty and wonder, a sense of lost grandeur, magic and might, buried by time and dust. Its at eight minutes that the artists flair comes to light and a new dimension is steadily pried open with a deepening sense of wonder.

Reminiscent of Tangerine Dream, Jean Michel Jarre and the likes of early electronic acts, the hypnotic whirl of a lopping oscillating synth seemingly rises from the ashes. Although standing at odds with its stereo panning, heightened pace and differing melodic intent, its steadily gains a foothold with the contrasting sound. At this point a psychedelic journey has begun. Realms Of Magickal Sorrow makes its distinction as a record with something different to offer the Dungeon Synth scene.

It would be quite straightforward to deploy this technique of swirling synths, wavering in pitch and volume, to induce an entrancing temperament. Old Sorcery however redeploys the power of oscillated synth tones with powerful subtlety that clings so frailly to this hallucinogenic vibration. One can envision secrets kept in keeps of cold stone as plants and herbs, guarded secrets of an esoteric cult.

The second track, Vaikerruksen Portti, uses a similar synth setup to the first track but with laser zaps and more electronic instrument design accompanying it. Both halves go strong, the Dungeon Synth side toys with mischievous melodies in the forefront, backed by dark organs and deep choral voicings. Its a loud and powerful outing to play up the unique union. A Lost Soul Amid The Listening Trees finds eruptions of gleam and glory, horns and glistening synths dazzle between the long and yearning stretches of shadowy ambience. It has a foreboding presence devoid of electronics.

In A Forest Trapped, those glistening synths return for a sleepy track of yawning pace with a dreamy persuasion. It builds to playful melodies before we arrive at the final track, possibly my favorite. Further Beyond The Melancholic Horizon opens like an Old Tower track, deep drones of devilish dreariness, lost in the distances. One can hear the deep gong strikes and an eerie fuzz of ambiguity. Suddenly it gives way to a different composition, then taking a few minutes to arrive at the final destination.

The next few minutes ponder the infinite, the synths ripple into the void, minimalism and subtlety slip into madness. Its a glorious moment in a song that goes through some vivid transitions that work masterfully. I did not expect to find such a rich experience within this genre I feel can so easily be overplayed. Old Sorcery has brought a sequence of deeply curious ideas that play into the dark, spiritual, meditative flows I just love. With another two albums, there is more to discover now.

Rating: 8/10

Thursday 14 May 2020

Oranssi Pazuzu "Mestarin Kynsi" (2020)


Returning from a cosmic darkness of maddening psychedelic infused in the Black Metal abyss, Finish outfit Oranssi Pazuzu serve up another engrossing slice of darkly paranoid wonder. Four years on from Värähtelijä, the group return with six lengthy tracks of mystic torture and devine black magics. Atmosphere is ripe, the music brimming with thick busying layers of sound decorated with whirls of cosmic ambience between its pounding baselines, thick distortion guitars and aggressive instruments.

Toying with the listener through repetition, tension and menace brood as simple arrangements loop with a hypnotic persuasion. Between the cracks an eeriness lurks, croaks and groans are heard deepening the bleak persuasion as the music lunges into upheavals of spite and hate with the most harrow and distressing of tones amending its peaks. It does find balance however with a glorious sense of galactic mystique emerging through stunning synths. It gives balance to a challenging listen.

Every track feels fleshed out with a concept. Some central idea hinges and holds together an intense journey through the mental madness this band explore. In its best moment, Kuulen Ääniä Maan Alta deploys an utterly snappy groove to underpin its spat with the heavens. It births a strange dance of demons you could almost move your feet too. Followed by Taivaan Portti, my least favorite, abrasion is dialed up on an incessant drone that stiffens all the weird yet wonderful progression behind it.

The rest of the record is remarkable, a progressive journey with many a bizarre and curious assemblies of sound that suck the nectar dry on this psychedelic horror they incur. Front man Ontto deserves a nod for the utterly foul vocal performance. Regurgitating guttural groans are wrenched from within, delivered with a spite and hate heard through the bleak textures tortured from his chords. Its a style Ive grown bored of but when done right, its a treat. Great record, they have a finger on the pulse.

Favorite Tracks: Ilmestys, Kuulen Ääniä maan alta
Rating: 7/10

Sunday 20 October 2019

Shade Empire "Omega Arcane" (2013)


I've sunk my teeth in deep on this one, enjoying its immersion over and over. Some albums present a charm that once familiarity sets in it can vanish. In the case of Omega Arcane it has a gift that will keep giving for years to come. So rather than write up my thoughts on this excellent record, I thought Id keep it in rotation for some time longer and with that has come a great appreciation for this meaty CD filling seventy four minutes of Orchestral Black Metal. Hailing from the UK, Shade Empire have out done Dimmu Borgir at their own game, specifically the Abrahadabra era where the Norwegians steered their iconic Symphonic incorporation of keyboards to actual in house orchestras. I do however feel they lost their charm in this transition.

Alongside the commonplace barrage of relenting blast beats, howling screams and aggressive guitar work, Shade Empire deploy a range of tonality in the symphonic avenue. String sections, brass instruments, trumpets and horns, even striking orchestral drum strikes. It has a rich depth that effortlessly blends into the metallic cascade of intensity. This also extends into more typical keyboard synths, electric pianos and on occasion furthering into the tonality of synth led music as no idea seems out of reach if it fits the billing. Its best heard in interluding journeys where drum machine deployment reminds me of the E.S. Posthumous fusion of Classical, modern indulgent Electronic elements and atmosphere aiding drum machines.

 This superb cohesion provides stunning depth with its rich layers of symphonic sound, underpinned by the crushing pummeling of crunchy guitars chugging tempered grooves. The slick rattling of rapid, dexterous drumming shudders like a pulse, slaming through it all with a commanding guidance to hold everything together. Its all rather intense, with each instrument the potential to overpower is present but they slickly achieve a balance and let the musical writing beneath elevate the aesthetic chemistry. The screeching vocals too have intensity but fortunately variety favors as deep guttural whispering tells tales, playing up the epic fantasy narrative the record has in droves. With a few voices at play, it shapes up well, avoiding staleness.

With such an engrossing musical construct, everything is set in place for endearing song writing to play out a rather diverse set of songs that meet in this fantasy realm of snow and storms. With many measures of temperament the songs can shift intensities while never letting up on a luscious layer of orchestral sound. It all feels rehearsed to deliver stunning swells of emotion as the so called crescendos and peaks seem to roll out in frequency. Its seventy plus minutes never seem to drag feet, each track firing up its unique take on the pallet available and with the start of each new number comes the reminder of the moments in store, yet to unravel there treausres. It also arrives between slews of ambience leaning atmospheric passageways that enrich the theme.

So far its all been praise and the reality is I can't think of anything to criticize. At first I may have had thoughts of preferring certain ideas to be executed differently but with time absolutely everything about this record makes sense to itself. There isn't even think there is a song worth gutting, the bar of quality is that high. The best tracks are however rolled up in the albums opening but even at the other end Slumbering Giant and the title track are very convincing songs that have just as much immersion.

What we have here on Omega Arcane is an excellent execution of intense Metal music but also a true understanding of the orchestral, electronic and atmospheric side. It feels like a mastery from its both perspectives, perhaps more so the latter. Rather than being used as an accent or aid, this thematic avenue has been fully realized. The chemistry between its two sides is sublime, that's where it stands apart from others who lump in synths as a layer of color. This is a gem I'll cherish for times to come!

Rating: 9/10

Wednesday 20 March 2019

Swallow The Sun "When A Shadow Is Forced Into The Light" (2019)


Finish Doom Metal band Swallow The Sun have been around for many a year, however this is the first time I have heard of them. Its their seventh full length release as the group approach a second decade of existence. That experience shows in these classy compositions and my initial listen to this record was like a revelation. A seemingly "new" take on Doom Metal and the gothic, sorrow soaked dynamics of shifting between the bleak black and melodic melancholy was initially mesmerizing. It led to my binging of the eight songs and ultimately transitioning to a more neutral position as the freshness wore off and its construct and genre tropes became clearer.

When A Shadow Is Forced Into The Light is a deceptively brilliant approach to the age old formula of grandiose, symphonic, Death Doom hybrids. Its a genre I am not well versed on but reminds me fondly of a gem by Desire, once plundered when dipping my toes into the musical history of Doom. Its as if all the components have been pulled apart, given a polish and put back together again, the final result feeling different, yet objectively similar. There is plenty of sorrowful, emotional melodies bled slowly alongside gothic lyricism and the occasional use of contrasting heavies. Deep guttural groans of darkness make an appearance with other typical stylings. I think what separates it at the surface is the vocals which more often than not bring howl more akin to Black Metal and plenty of palatable clean singing approaches, both male, effeminate and occasionally esoteric.

The music itself is wonderful, a pristine fusion of sounds. In its darkly avenues ripping distortion guitars and throaty howls can suck the listener in. When suspended in the dreary states of limbo, rising synths, sparing stringed instruments and clean plucked notes on glossy guitars carry the suspense as foray of vocal styles mourn in human sorrow. Its propelled onward by punchy drums, a driving, slow, powerful momentum that solidifies the sense of scale. Over the fifty two minutes it finds many sweet overlaps and progressions that dial the various elements in, usually finding its way to climactic moments within the thematic setting. Clouds On Your Side does this best in its mid section where it feels like all elements collide and climax.

For all the obvious glory, I think I may have binged this one a little too hard. Its been utterly riveting and some distance will make it a fond arrival whenever the magic of shuffle blesses some absent minded listening. This record has convinced me more than other that there is more to be found in the Doom Metal genre, however over my experience I also became all too aware of its tropes and common practices which I apriacient and enjoy with a little more distance than that of other Metal counterparts. Great record, well worth a listen if your a fan of heavy music.

Favorite Tracks: The Crimson Crown, Clouds On Your Side
Rating: 7/10

Friday 16 June 2017

Oranssi Pazuzu "Muukalainen Puhuu" (2009)


Finnish band Oranssi Pazuzu have been one of the most impressive in recent memory. Their blend of psychedelia and Post-Black Metal has been a breath of fresh air and with this recently released to bandcamp I was under the impression this was their new album but alas, upon setting out to write this blog I find out its actually their debut which has got to be a sign of strength given that this In no way felt primitive, conceptual or like a band taking their first steps with their sound. "Muukalainen Puhuu" is a fully formed beast of darkness, poised to drag you into the abyss with its eerie, haunting atmosphere fit for the unending shadows lurking deep in the cosmos.

In its metallic element its distortion guitars glide forward with nefarious tremolo picked riffs, shaping up to pack a punch with lively aggressive rhythmic assaults which absorb themselves into the ongoing eeriness, never a frontal force but another elements in the melting pot. Bold pacing baselines shape the tempo as the drums theatrically rattle and cue the shifts in intensity with their loud, peaking cymbals that make quite the thunder. Between it all, lurking mysteriously, organs provide the texture to unsettle and the accommodating synths, distant and inhuman, accenting the darkness like voices of ghosts they whisper their cruelty while in the musics trance. The presence of twisted howling screams and groaning guttural taunts drag the human element in.

The album plays well, shifting intensities, shimmering acoustics lead the mellower moments with a prominent roll in the psychedelic tone. There is a good variety that holds the same distant, spooky and lonely vision of the cosmos. Perhaps intentionally the song "Dub Kuolleen Porton Muistolle" has a Dub baseline prowling throw the song from start to end, one of the albums best with its rich yet strangely relaxing atmosphere. The drumming is a little rough around the edges, perhaps to effect but the cymbals can bring a lot of clatter to the balance, not always to my taste. Its a stunning debut, one that could of passed as their next record, in finding that out though Ive learned they have released another four track EP this year I cant wait to get my hands on.

Favorite Tracks: Dub Kuolleen Porton Muistolle, Kerettilainen Vuohi
Rating: 8/10

Sunday 7 May 2017

Oranssi Pazuzu "Kevät Värimyrsky" (2017)


After being blown away by the Finnish Psychedelic Post-Black Metal band's 2016 release "Värähtelijä", I was excited to hear talk of a new album, however this release is just a two track EP. The new record is out but released in the same month is this sixteen minutes affair to wet the apatite for whats to come. Its first track "Kevät" is a slowly and dreary wander through the foggy moonlight fields of desolation as a bleak atmosphere is cast by sombre acoustic guitars over distant hazy distortions. It progresses with an increasing unnerving as a slow gargling vocal taunts cryptic words, leading us into monstrous layers of dense rumbling guitar distortions. Sinister strings hide between the smothering sound it breaks apart as easy as it came, a creepy and morbid song with no charm for simple melodies, it is a grave soundscape of despair.

Starting with a singular, tonal distortion guitar and steady baseline "Värimyrsky" starts as another barren and desolate atmospheric piece. As it steadily groans a brief pause leads into a dramatic eruption as brooding tom drum fills lead us into a riff roaring whirl of metallic darkness. Twisted howls call out and before long the song breaks for respite as the vocal and distortion guitars drop out for a serine acoustic guitar to play out over a lively baseline and mystic organ like synths. With a guitar solo it lurches back towards the darkness and the song goes through several shifts, ever climaxing on its variations before breaking to a more enigmatic ending as a sense of glory and wonder emanates on the final moments of the song. Two excellent, crafted tracks. If these are outtakes from the full length then we are in for a big treat.

Rating: 4/10

Thursday 26 January 2017

Oranssi Pazuzu "Värähtelijä" (2016)


The evolution of sound is a fascinating thing. Time broadens the horizon of imagination and the scope of progression. Like the secrets of the universe, every new understanding yields more questions and so with every new style, genre and niche comes the possibility for a growing wealth ideas to cross paths. Finish band "Oranssi Pazuzu" are no new originality but a genius union of ideas fused with an artistic vision that blows the lid of expectations. Its a fond reminder to keep perusing and investing in the continual unfolding of music, in search of those moments where goosebumps blister the skin and time stands still in wonder of the power music holds over the mind.

Its seventeen minute saga "Vasemman Käden Hierarkia" is one of those sublime moments and one must relish in its fever. Eerie and dissonant guitars haunt a menacing, prowling baseline on the hunt, crashing into a harsh storm of abrasive psychedelia, its shrill distortion washed in the ecstasy of trippy shimmering infractions in the guitars tone. It regathers and intensifies with the warning call of an alien siren, before ushering in a moment of relief as gleaming vocals push back the unrelenting dark for a moment of respite before the two entertain one another in a back and forth.

The atmosphere thickens and broadens as if the embers of this clash are fizzling out, the chilling cold looms around as the maddening chime of strings refuse to fade out. It broods, swirls and manifests into a bleak, wintry return as the voice of the guitar takes on an inhuman form of malicious desire. As the voice returns one can hear the bellowing of a beast rumbling from the depths, it sends shivers down my spine. This bellowing transforms into an effeminate call of distress and as the song reaches its climatic plummet into the bowls of hell the voice erupts into a siren of eternal torment. A completely riveting and sonic experience, vivid and surreal.

Although a singular moment of artistic excellence takes the crown, the record is an expansive selection of ideas that delve deeply into its twisted blend of Post-Metal, Black Metal and Psychedelia. The Post reflects its noise driven narrative of unraveling dense layers of sound. The Black paints the mood charcoal black with a chromatic, unrelenting aesthetic for a chilling, haunting tone. The Psychedelia twists a familiar theme into new territory with its harrowing sense of mental dementia inflicted through psychotropic electronic sounds that align with the metallic tone as if the two were never apart.

The groups music often resides within an unsettled feeling of suspense where its as if something is brewing, often it is simply that feeling of unease that is the magic. No rocking riffs, catchy melodies or grooving beats, "Värähtelijä" is an experience of scenic music painting the blackest imagery with its perpetual presence of ambiguity and torment. The detail in its design is stunning and their is little to flaw bar a slightly less engaging closer track which evolves into a tribal dance beat, actually quite the interesting track but is maybe a pinch of the mark. Its almost a pointless comment to make of such an accomplished record where every song aims to reach into mysterious places and does so with an unrivaled demeanor.

Favorite Track: Vasemman Käden Hierarkia
Rating: 9/10