Spirit Adrift - Enlightened in Eternity

By Calen Henry. Despite being written in 2019 Spirit Adrift's fourth album, Enlightened in Eternity, sounds inexorably linked to 2020. By splitting the difference between the somber doom metal of Chained to Oblivion and the righteous classic metal vibe of Divided by Darkness

By Calen Henry.

Artwork by Adam Burke.

Despite being written in 2019 Spirit Adrift's fourth album, Enlightened in Eternity, sounds inexorably linked to 2020. By splitting the difference between the somber doom metal of Chained to Oblivion and the righteous classic metal vibe of Divided by Darkness it comes off as hope battling through existential dread, exactly how 2020 has felt for many of us. It also sounds like Nate Garrett and Marcus Bryant simply had a blast recording it. Garrett has a gift for taking a collection of metal riffs and melding them into catchy, anthemic songs that straddle the line perfectly between classic metal and arena rock anthems.

These new songs are more diverse than any single prior album. From the punky intro to "Cosmic Conquest" through the full speed metal banger "Harmony of the Spheres" to the dramatic trudging doom metal of closer "Reunited in the Void". They lay the foundation for some genre hopping classic-metal worship that comes off as reverential, rather than hackneyed. Like with the songs themselves Garrett cherry picks whatever metal bit or piece he pleases and adds some delightfully out there touches from a late track key-change to spooky chains clanking. The lead work fits the feel of every song and twin guitar leads abound. Many of the parts have the air of familiarity from classic metal albums, but nothing (apart from that one riff in "Stronger than your Pain") calls back to a specific band or album. It just feels right, like "comfort metal".

The choruses are as catchy as the riffs, but the lyrics dive a bit deeper than simply arena rock pizazz. A vein of hope runs through the album, but so does death and pain. The same dichotomy of downcast doom metal and triumphant classic metal that runs through the riffs permeates the lyrics. Many of the songs are about hope and triumph, but they're often about hope through pain and darkness and death, and the strength to face them head on. So still pretty metal, but 2020 metal, not 1980 metal.

2020 has been a crazy year and much of my music consumption has been revisiting favourites and discovering classics I'd missed in the metal pantheon so some new music completely fell off my radar Enlightened in Eternity almost did until Max asked me to cover it, and I'm glad he did. It's exactly the metal album my 2020 needed.

Vigor Reconstruct: A Benefit For The Soroka Family

Here at Metal Bandcamp we have been fans of Markov Soroka's many projects for years. Like Drown, Aureole, Krukh, and of course the mighty Tchornobog. This, though, is not a celebration of another new release from Markov, it's a benefit compilation with a sad background:

Artwork by Calvin Cushman

Here at Metal Bandcamp we have been fans of Markov Soroka's many projects for years. Like Drown, Aureole, Krukh, and of course the mighty Tchornobog. This, though, is not a celebration of another new release from Markov, it's a benefit compilation with a sad background:

Markov Soroka's father suffered a severe heart attack earlier this summer and, though he survived, was left without a job nor insurance in the wake of such tumult. Now the Soroka family faces at least $66,000 in medical bills. It is our hope that this compilation, featuring some of the very best of the metal (and beyond) underground, will help ameliorate some of the financial woes which they face.

Musically there's much to enjoy here (Mare Cognitum tearing through "Cosmic Keys to My Creations & Times"? Yes, please). The fantastic King's X cover by Panopticon led me to rediscover a band I had forgotten all about (I'm currently deep down a King's X Youtube rabbit hole). For another look back at good times, here's a couple of candid Tchernobog merch actions shots from when they played (remember live music?) Kill-Town Death Fest last year:

Tchornobog merch action at Kill-Town Death Fest 2019.

Oh, one last thing. An important message from the compilation organizers:

We will also concurrently be running a raffle for the original hand-painted artwork by Calvin Cushman, as well as original artwork by Karmazid (Tchornobog logo et al). At $5 per ticket, you are welcome to purchase as many "tickets" as possible (Paypal the total amount as Friends and Family to sorokafamilybenefit@gmail.com) between 10/2 and 10/4 (at midnight PST), with the winners being announced 10/5. Global shipping will be covered by the artists.

Toadeater - Bit to ewigen daogen

By Justin C. While discussing this album with a friend, an obvious question came up: What the hell is a toadeater? The interwebs provided the answer: "Originally, a charlatan's helper who ate (or pretended to eat) poisonous toads so that his employer could display his prowess in expelling the poison."

By Justin C.

Artwork by Drowned Orange.

While discussing this album with a friend, an obvious question came up: What the hell is a toadeater? The interwebs provided the answer: "Originally, a charlatan's helper who ate (or pretended to eat) poisonous toads so that his employer could display his prowess in expelling the poison." So, an appropriately bleak moniker for a black metal band, with bonus points because they avoided using phrases like "necro" and "goat."

The band's second full length, Bit to ewigen daogen, starts off with the standard mood-setting, instrumental opener. To be honest, I’ve gotten a bit tired of this widespread pattern, but I have to give kudos to the band here for melodically tying the intro into the first track, which is much better than the usual, formless fare found in these. From there, we're off to the races with "Conquering the Throne," which immediately sets the band apart from a sea of melodic black metal. The song somehow manages to straddle the line between thin and frosty and a meatier, fuller sound. The driving energy reminds me of late-period Woe, with a punk-like aggression. The lyrics come barked out, syllable by syllable, directly on the beat while a guitar plays a chiming line above. It’s not long before the band breaks to a different direction, opening up to an airier sound while the drums and (audible) bass plow on. It’s a barn-burner of a track that maintains the momentum while giving space to compelling melodic lines.

"Crows and Sparrows" covers similar territory, but adding in some far-off, clean sing-chanting that actually manages to not sound trite or cheesy. "Returning the Crown" does a similar trick--it keeps the band’s core sound and energy, but also mixes in some influences that remind me of The Cure or Depeche Mode. That gothic/new wave-y sound wouldn’t necessarily be up my alley, but the band absorbs and incorporates it in an organic way that somehow makes those sounds seem like a natural fit in with the maelstrom.

The album comes in a little on the short side for this genre--just 36 minutes and change--but the upside is that the band doesn’t wear out their welcome. Without the lyrics, I can’t say if the band is pro- or anti-toad eating, but regardless of your own predilections, you should give this album a spin with whatever snack you prefer.