Tints of Obsidian

By Justin C. And before anyone asks, no, of course I didn't steal the idea for the title of this post from No Clean Singing's "Shades of Black" feature. Just look--they're completely different words! I was introduced to Noltem

By Justin C.

And before anyone asks, no, of course I didn't steal the idea for the title of this post from No Clean Singing's "Shades of Black" feature. Just look--they're completely different words!


I was introduced to Noltem via a Facebook post by John Kerr, whose Marsh Dweller project got a lot of attention last year. The post simply said, "In case you missed it, here's a Tree Album we put out in early 2016." The "we" includes Mr. Kerr on drums and vocals and Max Johnson on keyboards and stringed instruments of various kinds, and the Tree Album in question is an EP called Mannaz, released in the summer of 2015.

"Tree Metal" turns out to be pretty apt, especially considering that Panopticon's Austin Lunn helped record the drums out in the woods of Minnesota. The intro to the EP's second track, "Windhall," shows off some particularly cool folk-ish/tribal drumming. Beyond that, this is a particularly well-done chunk of atmospheric USBM with satisfying mid-range roars and plenty of acoustic guitar accents. I don't usually do "recommended if you like"-type statements, but it's hard to imagine anyone who likes Marsh Dweller, Panopticon, or Falls of Rauros not also digging this.

Varaha's self-titled EP is a bit trickier to pin down in terms of genre. Definitely post/black/dark metal, but to my ear, the opener, "Cubicle," definitely has some gothy undertones. Here's the point I'm going to fail you as a reviewer, because I just don't know goth well enough to pick out influences. The clean vocals that the song opens with, the melancholy lyrics, and the melodies put me in mind of something with an 80s goth feel, though. Not that the song stays there--some serious growls break out before the track is done.

"La Mela" is an instrumental interlude, and although this is a somewhat strange statement, I'm going to go ahead and nominate it for "Interlude of the Year." This is how you make an interesting breather. It has waves of saxophone intertwining and crashing into each other in waves and echoes.

The EP closer, "It Takes a Ghost to Kill a Ghost," is a different animal from "Cubicle." There's still some soaring clean vocals, but the high rasps that come in after the two-minute mark are particularly vicious, and the song breathes into fiery life. There's still a hint of goth here, but this song is an insanely catchy bit of black metal. It makes for a slightly schizophrenic EP overall, but I think this is a band that's still refining and distilling their sound. if they keep writing songs like "It Takes a Ghost," though, I'm more than happy to let them grow.

The look on Laurie Shanaman's face in the art for "Dead Metaphors" is a lot like the face I made when I found out about Ails. If you don't recognize Shanaman's name, then shame on you: She was the vocalist of the late, great Ludicra. In Ails, Shanaman is joined by guitarist and fellow Ludicra alum Christy Cather. The regard Ludicra has in the history of USBM is well earned, so a new project by two of its members is worthy of celebration. There's a warm glow of familiarity when you hear their clean, harmonized vocals at the beginning of "Dead Metaphors," and as the song ramps up, it's time to start running around like a maniac. The first variation of many riffs to come pairs a tremolo with a sludgy/thrash riff that should somehow be made solid and turned into one of those stress-reliever balls. And of course Shanaman's vocals are as powerful as ever. Check out her scream at 6:35. When I first played it in my car, it tore a hole in space and time and I traveled to worlds as-yet unexplored.

The other track they've released so far, "The Seven," is a lo-fi demo, but the rougher sound makes it feel even more feral than "Dead Metaphors." Sure, there's a "gentler," eastern-tinged intro, there are some sweet guitarmonies, and the guys in the band add some clean background vocals for texture here and there, but this song as a whole is as intense as any BM you're likely to find this year. I can't say enough good things about this quick taste of new material, and I can only wait on pins and needles for what's (hopefully) to come.

Mad Max's Wheels of Steel #3

Written by Maxim Björky.

Folk Metal tends to get roughed up a bit in some circles. Now, folk bands aren't getting stuffed into lockers just because they reside at some intersection of a cultural faire and a sword n’ sorcery convention, nor is it because they necessarily count more silly bands among their own than any other metallic subsidiary. Rather, I would venture that folk metal’s embarrassing extended family is much more commercially viable and visible. This tends to obscure some very dynamic acts, ones that are both menacing and uplifting, whose albums are unabashedly melodic yet still manage to feel righteously savage. Here are just a few of those.


This is what it sounds like when Polish transplants in Ireland get really into traditional Celtic dances. Though I'll leave it someone more versed in the genealogy of folk music to delve into this, I gotta say that the smoothness with which these guys fuse Slavic and Celtic themes might be as much a testament to their own ingenuity as to the common Scandinavian influences that run through both cultures. The vocals are just great on this newest record and are probably the most dynamic and enjoyable part. If you like acts like Hagalaz’ Runedance, or even Satanica-era Behemoth, this constitutes a must-buy. The end result is some pretty epic harvest season type tunage. Come to think of it, this should have made it onto my best of 2014 So Far list but I snoozed on it hard. Much recommend!

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Artwork by Astral Body Horror

I still having a hard time believing that you have to tell folk metal fanboys and fangirls about this band. They are goddamn majestic. Tengger Cavalry bring Kublai Khan’s conquest of China to life with vivid, colorful instrumentation. Even with my base knowledge of Mongolian culture, it’s hard not to note that the righteous gallop of “Battle Song From Far Away” seems to capture the fortitude of an army which so easily swept across much of the known world in the 13th Century. And while much of the album is horseback riding music, the punchy, memorable “Summon the Warrior” will get the blood pumping. On top of that you get the usual Tuvan throat singing, which complements everything nicely.

I have never wanted to fire a bow so much in my life.

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Artwork by Moonroot

I’ve asked many people, nerds and heshers alike, to define just what pagan metal is and have never gotten a consistent answer. I get that we're splitting hairs here but it seems even the thematically defined Viking metal thing is easier to anoint as a genre. This is what this band is often labeled and I'm just not sure it does them any justice. It’s a rich tapestry of leads, samples, hymns, and blasting refrains, one that’s at its most novel on jams like “Wayfarer’s Awakening”, “Doomsayer”, or the massively rewarding, guitar-driven “Don’t Tell Lies to Children”. Much like the world-renowned beer their hometown of Pilsen is known for, Panychida’s music is crisp and full of haunting accents that linger with you long after. One often recalls Thyrfing or even Enslaved. Just as suddenly, they can rip into some dense commentary on modern warfare on songs like “Love Bombing”. These are the kinds of curveballs I search high and low for.

Now, don't get me wrong, I love slamming cheap domestics to a Finntroll set as much as the next guy but, for me, this stuff is at its most compelling during the kind of soul-searching that happens to Moonsorrow and Arkona than when dressing up to see any one of the innumerable of bands whose whole aesthetic is a dwarven bar fight.

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