I’ve always believed that Myrkur had it in her to release a truly great album. Amalie Bruun strikes me as a woman invested in the music she creates, who loves what she does, and has been steadily but surely improving and refining her music since her debut EP in 2014. I still think that her self-titled EP didn’t do her justice, and said as much in my review at the time. Her debut full-length album M the following year was a significant improvement, but I knew she was capable of more, if only she would let go of the need to stick so rigidly to writing “black metal” and allow herself to compile a more diverse set of songs; on her second full-length album Mareridt, Myrkur finally delivers on all the promise that I knew she had, and has succeeded in creating the best album of her career to date, and one of the best albums of 2017.
I’ve wanted to see Chelsea Wolfe live for a long time. I’ve been a fan of her music for a couple of years now, and when she performed in Leeds last year I incomprehensibly decided I wasn’t able to make it. Well, when this fantastic lineup was announced for a short UK tour with a stop in Manchester’s excellent venue Gorilla, I was determined to rectify my mistake. Touring with fellow American acts True Widow and King Woman, the bands all play gripping, dark music that overlaps and diverges in different respects; but as a tour lineup, this is one of the most gripping and cohesive I’ve ever witnessed. Continue reading “Live review: Chelsea Wolfe / True Widow / King Woman (17/04/2017)”
I hadn’t really heard of Nechochwen when I first listened to this album. I was aware of the sort of Native American themes they focus on but otherwise I was in the dark, having basically stumbled onto this album’s page on the Nordvis Records Bandcamp. But it seemed intriguing, and any album whose tags include “black metal”, “acoustic”, and “folk rock” definitely has my attention. But this album totally blew me away.
I wanted to remind everyone of Forndom’s EP ‘Flykt’ and put together a few thoughts on it. Forndom draw particularly from Norse culture and folklore, nature, and Scandinavian history. What this results in is music that blends elements of dark ambient music with tribal, ritual, folk and neofolk music (and even a tiny dash of black metal) to create a highly engrossing, meditative set of songs. There’s even a dash of black metal here, from the atmosphere to some of the harsh vocals on the track ‘Flykt’. That track and ‘När Alvkungens rike faller samman’ are the highlights for me, but every track on here is phenomenal and truly unique.
Though this blog is called Metal Void I think it would be disingenuous and limiting to focus solely on genres of music that might be described as metal. Neofolk is a style of music with a significant overlap with fans of metal, so I feel it’s not inappropriate to cover said genres on this blog. For me, a lot of metal is about a certain feeling, regardless of how a particular artists decides to express that feeling. It’s a feeling of a connection with nature, with the world around us, giving us a sense of place in the world and within our lineage and ancestors. Paleowolf is a solo project from Belgrade, Serbia that aims to channel this feeling.
‘Primordial’ is their first official release, an EP of four tracks totaling 34 minutes in length and featuring two brand new tracks. As I mentioned, Paleowolf are about channeling a certain kind of feeling; in particular they focus on a kind of sound that brings to mind prehistoric hunter-gatherer societies. In Paleowolf’s music, the sole musician ‘A.W.’ brings together influences from genres such as dark ambient, neofolk, tribal, and ritualistic music to create a compelling soundtrack to prehistoric times. Among his repertoire of instruments are natural instruments from drums to whistles, haunting chanted vocals, throat singing, and natural field-recordings, as well as minimal but tasteful use of electronic sounds, usually only as background effects. And ‘soundtrack’ really might be a better description than ‘album’ or ‘EP’ or even ‘song’; there is of course no traditional song-structure here: no choruses or even lyrics, verses or riffs. This music paints pictures and scenes, and tells stories, conveying its emotions and messages through the music itself.
This album really does achieve what it sets out to do. This is really a form of musical escapism, much like their contemporaries in Wardruna. Their music calls to mind ages past, and try to paint as vivid and natural a picture as they can. Its ritualistic, trance-like pace, repetition and droning passages draws you into and fully immerses the listener into Paleowolf’s prehistoric world. The sterling use of natural instruments is a large part of why Paleowolf succeed: where many of their contemporaries rely on garish artificial synthesisers which often serve to break immersion, the very instruments Paleowolf make use of enhance the sense of immersion. A hugely enjoyable and immersive experience, Paleowolf deserve your support.