Indie Recordings roundup: Sahg, Cult of Luna & Julie Christmas, and King

By Hera Vidal. Founded in Norway in 2005, Indie Recordings started as a side label for Indie Distribution, but quickly became one of the leading independent labels in Scandinavia. A major part part of their success stems from developing some of the better-known Norwegian bands - like Satyricon, Keep of Kalessin, and Sahg - into their roster

By Hera Vidal.

Founded in Norway in 2005, Indie Recordings started as a side label for Indie Distribution, but quickly became one of the leading independent labels in Scandinavia. A major part part of their success stems from developing some of the better-known Norwegian bands - like Satyricon, Keep of Kalessin, and Sahg - into their roster, but they also have signed foreign bands, such as Cult of Luna and King. Because 2016 was such a big year for metal, we will take a look at some of the major releases the label has graciously put out that year.

Artwork by Robert Høyem.

I originally wrote about Memento Mori a few months ago and decided to revisit it, since this album became one my favorites in 2016. After another few listens, I can say that Memento Mori still stands the test of time. Revisiting this album is like greeting an old friend: it reminds me of its melodic nature and how it seems to play out, to the listener’s delight. Olav Iversen’s vocals remain as mesmerizing as the first time I listened to this album in its entirety. Each time I listen to this album, there is always something new to focus, giving Memento Mori a lot of replay value. There is something beautiful in the pain the album seems to reflect, and it delivers. Given the heavy subject matter and some of the deeper themes the album focuses on, there is joy at the bottom of it all. The music seems to reflect that; even the weakest song on the album, “(Praise the) Electric Sun” is a jam, which goes to show that Memento Mori has something for everyone.

Clocking in at almost 54 minutes, Mariner is bound to make you transcend into something otherworldly. Continuing to explore impressive themes, this album is the closest thing to space exploration we have in post-metal. What I enjoy most about this album is its peculiarity. The music is majestic and slightly dissonant, reflecting the chaotic nature of space, and Julie Christmas’s voice reflects that nature just on her range alone. At first, I pegged her as another Chelsea Wolfe, but her voice is something else entirely. There is something so chilling and beautiful about her voice and how its vibrancy seems to add layers to the atmosphere the music creates. The second her vocals came in “A Greater Call”, my mind was completely blown and I couldn’t believe what I was hearing. On their own, Cult of Luna and Julie Christmas already create impressive music that seems to push the borders of imagination. Together, they craft something unimaginable that cannot be put into words. Although the album may be a little difficult to get into, don’t let that deter you from listening to Mariner. It’s beautiful, dissonant, and filled with an ethereal quality that borders on terrifying.

2016 was a big year of debuts, with heavy hitters and lukewarm releases alike. Fortunately for the Australian band King, Reclaim the Darkness falls on that spectrum of great debuts. This album is blackened melodeath goodness with Satyricon-like vocals and big melodies. However, don’t let the “blackened” label fool you; there are thrash elements embedded in their guitar, showing off their musicianship and their extensive blending of various influences. The vocals are also versatile, going from your standard black metal screams to traditional Swedish melodeath tonalities. The main track especially takes cues from Swedish melodeath, and we can see that the band begins to build their own identity on those cues. What’s even better is the fact that the album has some great drum work; usually, in black metal, the drums tend to be filled with blast beats, but here they are a combination of beats, each suited to what the song needs. They are also so incredibly melodic that they are quickly becoming some of the best melodeath I have heard in recent years. I have high hopes for this band, as Reclaim the Darkness is one of the underrated gems in 2016, showing Australia’s penchant for excellent metal.

Sahg - Memento Mori

By Hera Vidal. Most people take their mortality for granted, and don’t really think about death or the way they and their loved ones will go. For those who are completely self-aware about their mortality

By Hera Vidal.

Artwork Robert Høyem.

Most people take their mortality for granted, and don’t really think about death or the way they and their loved ones will go. For those who are completely self-aware about their mortality, a foreboding thought about dying can launch them into fearing the unknown. After all, no one knows how where their lives will lead, how far they will travel, and how long they will live for. However, in the end, everything dies—and that constant reminder is something no one will ever shake away.

Memento Mori was one of several options that we had on note for a long time. But then Lemmy died. And Bowie died. And all of a sudden, all these rock icons disappeared, one by one. People that have made their imprint on history and influenced us musically since childhood. It made a great impression on a personal level, and started a grieving process that influenced the making of the album. Suddenly it was very clear what the album title would be. ‘Remember, you must die’. Even immortal legends like Bowie and Lemmy don’t live forever.
Olav Iversen discussing the album title

Memento Mori is an album that reflects the acceptance that things all eventually end, and both the lyrics and the music reflect that. Sahg has always incorporated doom metal elements in their music, but here, it’s heavier; it’s a constant weight on the listener, as if they too can become aware of their mortality. The drum usage is heavy-handed and prominent, and the vocals give it that needed oomph to get the point cross. Iversen and Vetaas’s vocals are mostly clean, but there are a few moments where growls are used. However, they are an accent piece and are used sparingly, particularly in “Black Unicorn”. As the album continues forward, the bass becomes prominent and just adds more layers to the dark themes of the album. However, the way the music is arranged has the bass accent the guitars, and the guitars become melodic, adding a layer of hope that doesn’t diminish. Of course, that weight culminates in “Sanctimony”, as it is, by far, the heaviest song on the album.

Funnily enough, things begin to change towards the end of the album. In “(Praise the) Electric Sun”, a prog metal influence comes through, particularly in the acoustic-sounding guitar and Iversen’s vocals. It’s weightless, and it doesn’t hold back on its soft sounds. There is also a slight use of a wall of sound, albeit it doesn’t seem to stay for long. “(Praise)” is soft, melodic, and soothing, and it gives the listener a moment to breathe before returning to the heavy-handed sound the album has. Of course, once “Travellers of Space and Light” starts, the prog influence has diminished, but it’s there, underneath all the heavy usage of doom. Once the listener zeroes in on the layer underneath the vocals and the guitar, it begins to sound like keyboards. Given the musical changes occurring, it’s only a matter of time before the album changes themes, bringing up the real curveball. The album’s final track, “Blood of Oceans”, with its rather pagan-inspired arrangements and vocal usage, is the most powerful song on the album. Einar Selvik, of Wardruna fame, co-wrote this track and also added his own sound to the music. The song also features lyrics in Norwegian, making this the only Sahg song to contain Norwegian lyrics. It’s a nice touch to close the album on, given that Selvik used to be the Sahg drummer before starting Wardruna.

All in all, Memento Mori is a trip into accepting that everything ends, and it constantly reminds you of that fact. It has amazing vocals, clean instrumental work, and heavy themes to swallow. Given the band’s past affairs, they came to the realization that things could end for them, but, despite that, they moved forward, and created powerful music that is deep and moves the listener. Memento Mori is a powerful album, and one that shouldn’t be ignored.

Prominent tracks: “Black Unicorn”, “Take It to the Grave”, “Sanctimony”, “(Praise) the Electric Sun”, “Blood of Oceans”

Indie Recordings is label number 200

Bandcamp has grown a lot a since they began in 2008. As as small example of that growth just look at our Metal Labels On Bandcamp page. Back in 2011 I wrote an article for our rowdy, but big-hearted brothers at No Clean Singing

Bandcamp has grown a lot a since they began in 2008. As a small example of that growth just look at our Metal Labels On Bandcamp page. In 2011 I wrote an article for our older brother, the rowdy, but big-hearted No Clean Singing, called Black Goats and Candlelights: 10 Metal Record Labels on Bandcamp. Back then there was less than 20 labels on the list.

Now it's 2016, five years later, and Indie Recordings just became label number 200 to be added to the list! And the official opening of their Bandcamp page was even announced with a proper press release:

> Founded in 2005, Indie Recordings is the home to a unique hard rock, hardcore, and metal roster. The label has released over 100 albums including recordings from Enslaved, Satyricon, 1349, Warduna, El Caco, Kvelertak, Cult Of Luna, and more. Pre-orders for new albums from King and Sahg will launch in the coming week.

Right now the page is a bit underwhelming with 24 albums and 64 singles (?). But look at the artists page; so many great bands there, surely a sign of good things to come. All that said, if you look around there are some good finds like this Enslaved live album from 2008, the latest from Gehenna, and my favorite Kampfar's Djevelmakt from 2014.


Keeping it in the family, Andy Synn from No Clean Singing wrote that "Kampfar are in the midst of an ongoing (and seemingly unstoppable) creative and critical renaissance", called Djevelmakt "ravenous" and bestowed it with this very fitting haiku review.

Hellish. Heroic.
Riffs that prowl like wolves. Blood red.
Pure as driven snow.

Listen and you will agree...