Tuesday 27 February 2018

Arkheth - 12 Winter Moons Comes The Witches Brew

Labels: Transcending Obscurity Records
Formats: CD/Digital
Release Date: 20 Feb 2018


1. Trismegistus
2. Dark Energy Equilibrium
3. Where Nameless Ghouls Weep
4. The Fool Who Persists In His Folly
5. A Place Under The Sun

With the snow falling outside, I felt it was better to stay cocooned in the warm embrace of black metal, though this isn't just any black metal. A glance at the cover art of the third full-length from Australia's Arkheth above should be able to convince you of that. The solo project from Orange, New South Wales released "12 Winter Moons Comes The Witches Brew" last week via growing extreme metal label Transcending Obscurity Records and it's the band's third in fifteen years. This album has garnered a lot of press attention recently but as always I approach in blind, without letting any reviews influence my writing.

It’s fun to delve into an album by a band that you genuinely have no preconceptions about. Arkheth is one such band and “12 Winter Moons…” is one such album. Opener Trismegistus is a rabid mix of both cold black metal and oddly uplifting instrumentation. There’s hints to the band’s earlier symphonic leanings during the opening verse, while the guitar work offers melody and there’s a saxophone adding an extra layer to the music. If Madness were to offer their brass section to an extreme metal band, this is pretty close to how the music would sound (and I mean that in the nicest way possible). The use of samples also helps to heap on atmosphere, which transports the song to another place. 

From the sublime opener, Arkheth moves on to the haunting rock ’n’ roll of Dark Energy Equilibrium. There’s plenty of experimentation with sounds and effects and it creates quite a backdrop. I know that the saxophone has been utilised by black metal bands already (Sigh, the band not the expression!) but here Arkheth uses it to compliment the quieter moments, while the off-kilter craziness is allowed to run free, led by the guitars. The percussion is deep in the mix too but that low-profile actually works better as it sounds more restrained. The weirdness continues on Where Nameless Ghouls Weep, which contains vocals that sound like wolf howls and like a none-to-drugged-up Marilyn Manson. The organ-like keyboard effects only make it stranger too. There are occasions of more straightforward metal in the song, but they are few and far between. That’s alright though as if you’re listening to this, then there’s high chance you’re beyond straightforward metal anyway. 

The Fool Who Persists In His Folly is a strange mix of the downright bizarre and the classical. In fact, I’m past even trying to describe what’s going on. You’ll need to listen to the full record to truly work that out. That’s not a criticism though, more of a nod to just how unique this album is. The album’s final number A Place Under The Sun is initially the restrained song that the album needed. I mean, there’s no way that Arkheth’s experimental madness could have kept pace for another song is there? Well the answer to that is…of course it could! After the song’s first half, which is filled with bleak black metal, Arkheth finishes with a lengthy saxophone led passage that leads into an equally lengthy full instrumental ending. It’s a great way to end to an album that’s completely out of left field yet also very compelling in it’s detail and abstract musicality. May your eyes and ears truly be opened. 

You can stream three of the album's five songs here:-

You can also buy it digitally and on cd from the bandcamp page above.

Monday 26 February 2018

Eigenlicht - Self-Annihilating Consciousness

Labels: Gilead Media/I, Voidhanger Records
Formats: CD/Vinyl/Digital
Release Date: 16 Feb 2018


1. There Lies Already The Shadow Of Annihilation
2. Hagia Sophia
3. Labrys
4. The Deifugal Force
5. Berserker

It's scary to think that it's almost been three years since I first featured Olympia (Washington, USA) black metal band Eigenlicht on here. How time flies! The quartet has recently released it's first full-length via both Gilead Media and I, Voidhanger Records. The 2015 EP "Sacral Regicide" was a mere hint at what the band could achieve on a larger format and finally they are given this chance by two fantastic labels. "Self-Annihilating Consciousness" is sprawled across both cd (I, Voidhanger Records) and 2 LP's, both hewn in gold or black wax (Gilead Media).

Eigenlicht has always been very adept at weaving atmosphere into their music. There Lies Already The Shadow Of Annihilation is a very short instrumental opener, featuring droning feedback and traditional flute melodies. Hagia Sofia is the record’s first long-player and initially it’s very doom-like. Again, it contains traditional instrumentation and it’s slow to build. When the vocals kick in, they’re low growls that remind you more of doom/death. They sit well amongst the atmospheric instrumentation but it’s only when the harsher and higher-pitched screams start that you realise there’s more to Eigenlicht than just slow, meandering heaviness. The clean singing is chant-like and haunting, and the band doesn’t believe in instant gratification for the listener, instead preferring to progress slowly and with musical touches that aren’t always present within black metal. It’s only towards the end of the song that they choose to unleash a more obvious black metal approach. 

I suppose that just calling this a black metal album is way off the mark, as it’s a lot more varied and experimental for that narrow classification, though Labrys appears more straightforward. It sounds more orchestral and majestic, which for a band that doesn’t call themselves a symphonic black metal band, is quite an achievement. The moments of off-kilter mayhem later in the song takes it in a completely different direction for a little while, though it never loses it’s musicality. Spacey keyboard ambience paints a subtly dramatic picture on Deifugal Force. It is heard over the guitars and at times is quire menacing. At around the two-minute mark it gives way to another bout of off-kilter guitar work and slow percussion. This is the record’s longest song and it definitely feels as though Eigenlicht has upped the experimental textures somewhat. It’s a glorious piece of music that is both harrowing and transfixing, even in it’s quietest moments. 

Ending with Berserker, Eigenlicht takes a slightly more laid back approach but there’s still a sense that they could flair up at any moment. Flair up they do, though only relatively briefly. Their black metal blueprint sounding as brilliant as ever. “Self-Annihilating Consciousness” is a record that may demand repeat listens, but one that will reward you with it’s enchanting and sprawling musical textures. Eigenlicht has certainly stepped it up on this full-length and are a band that stand out as one’s to pay close attention to. Great stuff. 

You can stream "Self-Annihilating Consciousness" and purchase it digitally via Eigenlicht's bandcamp page below:-

You can buy physical cd and vinyl copies from the releasing labels below:-

Thursday 22 February 2018

Frequencies Deleted #2 - DSCORPR8S - Akashic Discrepancy (Mikey Ortega)

Labels: Self-Released
Formats: Digital Download
Release Date: 1/22/18

1. Fever Dream
2. Base Of Operations
3. Dark Times
4. Bug Powder, Bullet Breath
5. Rodent Claws
6. Seal of Gabriel

In sports, if you build of team with players who've won championships or awards for their performance, there's a good chance they are gonna have a dominant season. If you cast a movie with actors, directors, and writers who've won Oscars, you'll get a film that will do big at the box office. And when you get musicians from big established bands, then you're gonna get some killer tunes. In the experimental/noise scene, when you get a bunch of creative people with some fucked up imagination, you're gonna get something that's out there. And that's what DSCORPR8S brings to our innocent eardrums. The project features Jeremy Stilgenbauer of Small Forest, Verge Bliss of Dendera Bloodbath, and Zachary Paul (who has also collaborated with Dendera Bloodbath). What these three bring to us is “Akashic Discrepancy”. When I pressed play, it felt like I was in a French experimental film. And it's a trip I don't mind diving into.

"Akashic Discrepancy" opens up with Fever Dream. At first you think you're getting a n electronic dance track. Then out of nowhere, a sonic blast of distortion comes blaring out of your earbuds. Base of Operation sounds like an old-school video game that David Lynch came up with. As if Dig Dug took some high-level LSD, and started going to town on an Indian burial ground.  Bug Powder, Bullet Breath is one heavy track. For some reason, the image of a banshee coming right at you with a wrecking ball comes to mind. You can feel the sound just crushing your rib cage, and puncture your lungs. Seal of Gabriel is a perfect way to end “Akashic Discrepancy”. It's as if you're sitting in a field with a jack-in-the-box. Just cranking and cranking the rod. And right when the box pops, the ground starts rumbling. Fire falls from the sky and everything around you starts to disintegrate.

What gets DSCORPR8S rolling is that each member brings something to the project.  Jeremy brings that electronic sound, which at times can feel dreamy, but then takes you somewhere surreal. Verge brings here pedals, which makes DSCRPR8S a harsh noise juggernaut.  And then you got Zach, who's violin skills brings that avant-garde element to the sound. When you get creative minds together, you'll pretty much get something that's a crushing apocalyptic bliss. The soundscapes creates a World that feels like a Dystopian-Industrial graveyard. If you're a fan of these individual artist, then you're gonna dig what they brew up on “Akashic Discrepancy”.

You can purchase “Akashic Discrepancy” on Bandcamp and follow DSCORPR8S on Facebook in the links below.

Facebook - https://www.facebook.com/dscorpr8s/

Thanks again to Mikey for taking the time to write this. I hope you enjoy it. 

Tuesday 20 February 2018

I Fight Bears - I Fight Bears

Labels: Self-Released
Formats: CD/Digital
Release Date: 16 Feb 2018


1. Hammers
2. Envision
3. Lost The Fight
4. Design & Purpose
5. Life Of One
6. Disposed
7. Trust
8. Exhale
9. Smoking Gun
10. System

Here's the debut self-titled album from Bridgend's I Fight Bears. Bridgend is the Welsh town that gave birth to two of the UK’s most well-known post-hardcore and metal bands, Funeral For A Friend and Bullet For My Valentine, so heavy music's pretty safe there already. I Fight Bears formed about two years ago and have been playing plenty of gigs in and around South Wales since. With their debut album, they're hoping to reach wider audiences with a sound that takes influence from some of modern metal's leading lights. 

“I Fight Bears” begins with loads of energy with opening song Hammers. They’ve got plenty of big instrumentation, harsh roars and clean vocals providing more than a nod to the bands that have influenced them. It’s a very polished start to the record. On Envision, I Fight Bears begin to show their more technical side, with more progressive song-writing and a scorching solo. They are pretty damn good at writing thrash inspired metal as well. Lost The Fight is testament to that with razor-sharp guitar and a grittiness that’s hard to miss, especially when the screams are at their peak. It reminds me of the modern European metal created by Stabbing The Drama-era Soilwork. 

One thing that this record does do as Design & Purpose rings out, is remind me of how much my own tastes in metal have changed over the years and how the constant search for unique takes on the genre have lead me away from bands like I Fight Bears. I’m not saying they’re bad, in fact far from it but I feel that their full potential is yet to be realised. That being said, Life Of One goes in a different direction and gathers elements of both post-hardcore and metal to create something that’s more melodic and soaring. It’s really enjoyable. As they launch into the second half of “I Fight Bears”, the more introspective side of the band are evident on Disposed, which again is a big soaring catchy number. There’s a more chaotic and raging vibe to Trust, especially in the verses and the dual-guitar melodies are cracking throughout. 

Exhale is the longest song on the record and again I Fight Bears fill it with thrashing metalcore-like sounds that make it impossible to sit still through. The comparisons to them and Killswitch Engage are made in their press release and on Smoking Gun, the comparison isn’t far off at all. It’s a real skill to be able to get the listeners full attention this close to the end of an album but I Fight Bears do so really well. This song has got everything that’s good about modern metal. Closing song System follows suit and gains momentum to help the record end on a massive high. “I Fight Bears” is both polished and precise and while that will help it appeal to a wider audience, there’s still room for I Fight Bears to raise the bar on future releases as they grow and mature as a band. The potential is most certainly there but they need to find their true sound. 

"I Fight Bears" is available digitally on all of the major outlets, though curiously not bandcamp as of yet.

You can watch the video for opening track and first single Hammers below:-

CD copies of the album can be purchased here - https://ifightbears.bandcamp.com/merch

Thursday 15 February 2018

Marriage Material - Making The Worry Worth It Part 1 7"

Labels: Dirt Cult Records
Formats: Vinyl/Digital
Release Date: 23 Feb 2018


1. What Can You Say
2. Left Me Waiting
3. Soggy Sock Town
4. Someone Else
5. Seasons (Live)

I'm making one of my rare forays into punk music this evening (I really need to make these  happen more often). This is the first 7" from Californian punks Marriage Material, with some of the songs taken from their 2017 demo. Its due for release via Portland, Oregon punk label Dirt Cult Records on February 23rd. The small bio about the release on Dirt Cult's bandcamp page says that the band shares a love for the likes of Hot Snakes and Toys That Kill (amongst others), so this should be cool.

It’s one of life’s joys listening to a new punk band in my opinion. Marriage Material is great. What Can You Say is both pop-like and dirty at the same time. The dirtiness comes from the garage-punk that’s rooted in the trio’s sound. It’s typically catchy and melodic. The songs aren’t long but are full of energy. Left Me Waiting reminds of Green Day before they ditched the Dookie-sound and went all commercial. Also, I get a sense of T.S.O.L too! I dread to think what Soggy Sock Town is all about, but it’s moodiness is palpable. It’s a little more chaotic but the lead riffs take it in a more surf-punk direction towards the end and I can certainly get behind that! 

The danceable drumming on Someone Else is more than matched by the rest of the trio, with yet more catchy guitar melodies and clean vocals. The closing song on this 7” is a great live version of their song Seasons. It captures their greasy punk-rock energy really well. It’s the most rock ’n’ roll they’ve sounded on this EP and its great. The constant cheering and whistling in the background tells you all you need to know. Marriage Material is making some really stonking sounds and this EP is a great introduction for people who’ve never heard them before. Let’s hope they find their way over to the UK at some point, as they’ll go down a treat. 

You can stream the 7" and buy it both digitally and on 7" from Dirt Cult Records below:-

Wednesday 14 February 2018

Blooming Carrions - Sparkling Rotten Dreams Demo

Labels: Iron Bonehead Productions
Formats: Tape/Digital
Release Date: 14 Jul 17


1. Crystalized Disembowelment
2. Oneiric Grave
3. Pulsating Black Pools

Normal service this evening, no Valentine's date for me. I thought I'd write about something that reflects my current mood towards another commercial "day" in our calendar. Cue Finnish death metal entity Blooming Carrions and last year's debut demo "Sparkling Rotten Dreams". Blooming Carrions was formed sometime in 2014 and released this debut via Iron Bonehead Productions last July. You won't find any social media pages or fan fair from Blooming Carrions. Solitude and music seem to be the preferred directions for sole member EvM. 

Blooming Carrions’ take on death metal is hellishly raw. The crazed drumming and low growls are joined by guitars riffs that slice though the mix on demo opener Crystalized Disembowelment. Amongst the intense noise there are moments on unearthly atmosphere and those moments are greeted with relief, as for the most part this is very claustrophobic and heavy. The driving guitar work is more apparent on Oneiric Grave, which powers along with chunkier riffs and a frenzied old-school spirit. 

The demo’s closing song is a thrashing menace. Pulsating Black Pools may cause involuntary head banging thanks to it’s raging tempo and constant cymbal crashes. It’s also pretty catchy if I dare say so. It’s not an easy listen and those with a leaning towards more extreme metal will definitely get more out of it, but “Sparking Rotten Dreams” has a great deal of musicality flowing through it and a genuine presence that a lot of solo projects miss. 

Stream and purchase " Sparkling Rotten Dreams" on tape and digitally below:-

Monday 12 February 2018

Bell Witch - Mirror Reaper

Labels: Profound Lore Records
Formats: Double Vinyl/ Double CD/Digital 
Release Date: 20 Oct 2017


1. Mirror Reaper

Tonight's a slow and heavy doom kinda night. 83 minutes of slow and heavy doom to be exact. I've finally managed to find both the time and the mental space to be able to sit and listen to a release that was widely talked about towards the end of last year. The Seattle duo Bell Witch released "Mirror Reaper" on double LP, CD and digitally last year via Profound Lore, making it their third full-length since their inception in 2010. They received a lot of plaudits via the heavy music press in the race to get end-of-year-lists out and while I'm a little late with this, I'm also excited to finally be able to soak it in. 

As far as casual reviewing goes, this is a new experience for me. I’m used to reviewing albums of this length that are made up of multiple songs. That being said, I appreciate when bands do different things. There’s no forced or brash build-ups on Mirror Reaper. The opening two-and-a-half minutes are soothing with just the sounds of one guitar and it’s melody. It’s a shock then when Bell Witch’s doom finally kicks in thereafter, as it crawls along with dissonance and a minimalist yet powerful percussive element. The addition of the low (nearly whispered) growls remind you of the band’s extreme persuasion, while the almost shamanistic drone of both the clean vocals and the instrumentation are trance inducing. One thing that the duo does really well is weave some incredibly soaring guitar melodies into the music, which is made even more special by the fact that they’re produced by a bass, though bolstered by some equally impressive Hammond organ playing. 

Bell Witch switches between both lighter and heavier sections on Mirror Reaper and it’s this sensitivity that endears you to it. The heaviness is not too in your face and is far outweighed by the melody during those lighter sections and there’s no need for prolonged periods of silence either. To be honest, I wasn’t really sure what to expect from this but at the 30 minute mark I’m in awe. It may be amongst it’s heaviest at this point, but even then there’s a stark beauty to the song. Funeral doom can be an extremely hard sub-genre to nail as a band and enjoy as a fan, but this has been done in a way that removes that claustrophobic feel and replaces it with something that’s more akin to post-metal, but slower. I do feel silly trying to adequately describe a piece of music that’s been written about so many times already, but I guess on this occasion I’m doing for no other reason than for the pure enjoyment, because that’s what music is there for beyond any of the short-lived fads and fashions. It should be enjoyed for what it is and how it makes you feel. 

Mirror Reaper’s light/dark passages come and go like subtle waves. The quieter moments accentuate the louder ones and visa versa. The additional vocals performed by Erik Moggridge are hauntingly good while the production/engineering/mixing (by Billy Anderson and Bell Witch), the recording (done at Hallowed Halls) and the mastering (by Justin Weis) allow the entire piece to be clear and very organic. The music is also matched by the incredibly artwork (of Mariusz Lewandowski). It must look great in double LP form, which reminds me that I need to try and pick up a copy. It’s an emotive feeling as Mirror Reaper comes to an eventual close. There’s a lot to it, even in it’s simplicity. There’s no pretentious song-structure or arty-musicianship, just good honest doom that’s got it’s own personality. Bell Witch has seemingly raised their own musical bar here and it’ll be interesting to see if they can reach or even beat it with their next offering.

You can stream "Mirror Reaper" and purchase it digitally and on double cd here:-

Double LP copies can be purchased via Profound Lore Records here (though they're in very limited supply now) - https://www.profoundlorerecords.com/

Sunday 11 February 2018

Band Services: An Expensive Neccessity, But Can They Be Cheaper?

I've been sat on my laptop today thinking about the expensive products and services that bands (and labels) need to utilise throughout their existence. A lot of the costs of those products and services can be prohibitive for bands and labels that are starting out or that don't have major label support. This got me thinking...

What are the biggest expenses that you incur? 

If you could get discounts on these services, would it help you?

The kinds of services I'm referring to are things like vinyl/cd pressing, PR services, recording and mastering, licensing and legal advice, PRS etc.

Please take the time to answer the above questions and leave in the comments section of this post. Alternatively, drop me a line on social media or via tnio@outlook.com. 

Saturday 10 February 2018

SeeYouSpaceCowboy - Fashion Statements Of The Socially Aware + Cassingle

Labels: Zegema Beach Records/React With Protest/Structures//Agony Records/Contrition Recordings/Middle-Man Records/Dog Knights Productions
Formats: Vinyl/Tape/Digital
Release Date: 03 Jun 2017


1. An Introduction For People Who Hate Introductions
2. Jimmy Buffet Doesn't Even Surf
3. Soap Opera Stardom Is A Single Tear Drop Away
4. Pep Talk From A Nihilist
5. Fashion Statements Of The Socially Aware
6. Absolutely Absolute Absolution

If you miss the Myspace days and listen to Mathcore Index's Mathcast, you'll likely be aware of the current crop of insane, fast and gnarly screamo/violent hardcore bands that are coming through. SeeYouSpaceCowboy are one of those bands and they're on a very upward trajectory. They released their first demo in 2016 and followed it up with this 7" last year, which received two pressings via a collaboration of no less than six DIY labels. As a band they are standing up against social injustices within their scene, which is noticeable in both their song-titles/lyrics and in the way they conduct themselves. 

The first thing that immediately stands out for me with SeeYouSpaceCowboy is the eye-catching artwork on the sleeve of the 7”. The first pressing was bright yellow, while the second pressing is a bright intense pink. I’m okay with colourful presentation, as it makes a change from black and white. Songs-wise, SYSC don’t hang about. An Introduction For People Who Hate Introductions is a sixty-second blast of off-kilter, angular grind violence with solid screamo sensibilities. Plenty of math-like time signatures, trebly riffs, seriously uptempo percussion and a lung busting vocal delivery, which is the icing on this particular cake. Jimmy Buffet Doesn’t Even Surf is somehow heavier and more intense with the entire band working together to unsettle you. Trying to keep up with the music while typing this review is not easy. Soap Opera Stardom Is A Single Tear Drop Away highlights just how much they can fit into a song and shows that while the music may seem chaotic and un-structured, it’s actually quite the opposite. SYSC are incredibly tight musicians and they have to be with the amount of precision that’s present in these short grinding bursts. 

Pep Talk From A Nihilist has a garage-punk feel initially before turning into a breakdown-filled beast with low death metal grunts at times. The title-track is a trade-off between mathcore and introspective emo, but with gang vocals. When things do explode towards the end, you’re not sure which way is up and what you’re listening to. It’s a little ironic of me to say at this point that they’re impossible to truly pin down musically (when I’ve tried my best so far), but the truth is that they’re playing what they want to and are taking us along for the ride. Absolutely Absolute Absolution typifies that point as it closes out this mesmeric and jarring EP. SeeYouSpaceCowboy are nothing short of amazing at what they do. There’s a tidal wave flowing through the underground scene and this quintet are at it’s tip, waiting to wash away any opposition in their path.

Stream "FSOTSA" and purchase a download or one of the band's four remaining 7"s below:-

Labels: Self-Released/Zegema Beach Records
Formats: 7" Lathe/Tape/Digital
Release Date: 02 Nov 2017


1. Atrocities From A Story Book Perspective

This special single-song release was recorded by the band, shortly after having their trailer and gear stolen while on tour last summer. The band has released it digitally and via a specially pressed 7" lathe cut, while Zegema Beach Records has released a limited run of tapes. Both of which have sold out from SYSC themselves. I felt it was more than worthwhile tagging a small write-up of the single  onto the end of this piece. 

In a time when CD singles seem to be dying a slow death, it’s cool to see bands and labels finding more artistic ways to release single songs. That’s what both SeeYouSpaceCowboy and Zegema Beach Records have done here. SYSC release “Atrocities From A Story Book Perspective” on a very limited run of 20 7” lathes with screen-printed b-sides, while Zegema Beach went with the cassingle option. This song is pissed straight from the off but retains a slight garage-punk vibe. Swirling with feedback and chugging riffs it’s a lot angrier and more hardcore orientated. As soon as it’s started, it finished. Such a cool idea and a release that will no doubt be lauded by fans and sold for extortionate amounts on Discogs in the future (completely against everything the release stands for). Support SYSC.

Stream the song and support SeeYouSpaceCowboy by purchasing a download here:-

Check the below links for availability of both releases (these are the labels that still have copies left):-

Dog Knights Productions - https://www.facebook.com/dogknights/

Friday 9 February 2018

Morvigor - Tyrant

Labels: Self-Released
Formats: CD/Digital
Release Date: 11 Nov 2017


1. Intro
2. No Repentance
3. The Martyr's Ascension
4. Interlude
5. Blood Of The Pelican
6. Voices
7. Tyrant
8. Outro

It's heartwarming to see bands going to this level of detail with their self-released albums. In the case of Alkmaar (NED) melodic death/black metal band Morvigor, their second full-length "Tyrant" arrived in a four-panel digipack-style card sleeve and features a booklet including artwork and lyrics. They've been a band for about seven years and released their debut full-length "A Tale Of Suffering" in 2014. This year's started pretty well for them too, as they played alongside Arkhon Infaustus in January and they're due to appear with the likes of Asphyx and Dark Tranquillity in Hengelo (NED) in March, at Metropool Metal Fest.

It takes a few seconds for the Intro of “Tyrant” to begin, yet its anticipation that fills the gaps when the ambient sounds fade away. The first song proper is No Repentance. There’s a traditional feel to Morvigor’s sound, until the riffs and screams kick in that is! They thrash and flail with a huge dose of both heavy and black metal. There’s also a hefty amount of melodic death going on,  especially inside the guitar work and the semi-clean/harsh vocals mid-way through. The Martyr’s Ascension contains some strange guitar tuning during it’s opening bars, but when the full band kicks in it becomes very effective and takes on a new form. It’s here that you realise that Morvigor are more than just a death/black metal band and that they make use of a wider range of musical influences. Its pretty powerful and the kick-drums and rhythm section as a whole add to that power in the background. Later in the song it winds up being a full-on black metal assault full of blasts and shrieks that could have come from Satan himself. Aside from my cheesy description though, it is a really good listen. 

I’ve never really been a big fan of the Interlude as it tends to break up the momentum of a lot of albums. This one bridges the gap between the two longest songs on the record and the final few bars featuring the single guitar are very nice. Blood Of The Pelican follows and it’s a fifteen-minute plus leviathan. Its full of atmosphere and old-school worship, while Morvigor manages to avoid sounding dated or merely copyist. The production/mastering job certainly brings out the band’s impressive sound. It explodes into a huge black metal song with a grooving, almost-stoner feel to the instrumentation. It’s a clash of styles that, while subtle, work absolutely perfectly together and carries on throughout the song. The bass guitar riffs sound great and Morvigor excels at creating music that steers clear of the fire and brimstone approach of other black metal bands. Its sort of comforting really. Voices is another short song that features some strange electronic effects and samples. It’s kinda cool, especially when the feedback comes in and the sampled voices get louder. 

The album’s title-track leads on immediately afterwards and it takes you back to Morvigor’s thrashier sound. It’s impressive how much they can fit into a song, musically speaking. The solo in really strong and the clean vocals add another edge to it. It’s a rousing song that does borrow from folk metal in places. Mid-way through, the song dies out and after a brief pause you’re greeted with semi-improvisational guitar melodies that lead to a more sedate second half. At least that was what I thought anyway! There’s still time left for Morvigor to unleash one last twin-guitar fuelled attack. The piano of the Outro is a glorious way to end an album of twists and turns such as this. It’s been a really enjoyable listen from a band with plenty of promise. I reckon a lot of you will like this one. 

You can stream "Tyrant" and purchase it as a download or on CD (or both) here:-