The Rock Blogger

Moonsorrow. Tulimyrsky EP. 2008. 4.5 stars.

Helsinki’s Moonsorrow have produced a monster of an EP with Tulimyrsky, surpassing the full lengths of most black metal bands with its sheer scope and grandiosity. Running well over an hour, Moonsorrow’s latest redefines what an EP should be, as they produce long, winding epics that incorporate Norse mythology, folk music and historical themes with an intensely cinematic presentation. With what may be the longest EP of the year (if not of the entire genre), Moonsorrow have created a fine masterpiece.

The half-hour adventure that is “Tulimyrsky” starts things off with a dramatic voice-over sample that provides a dark narrative (in Finnish) that establishes thematics in a similar fashion to Godspeed You Black Emperor’s infamous “Dead Flag Blues”. After this mysterious intro, the band throttle forward into a blazing rhythm, complete with thundering blast beats, raging guitars and inspired vocal chanting, showcasing the band’s Viking-warrior aesthetics. Over the course of its gargantuan duration, the song weaves and wanders across massive heights, even dabbling in Medieval sounding acoustic passages and total thrash freak outs. The ride is a raucous one, as the variety of sounds and influences explored really do create feelings of conquest and discovery.

Following this journey is a faithful rendition of Metallica’s “For Whom the Bell Tolls” which is given a raw and seething black metal reinterpretation that doesn’t compromise the sacred integrity of the original version. This is probably one of the most impressive and fitting cover songs I’ve come across recently, as it takes you back to black metal’s thrash roots. After this nostalgic romp, Moonsorrow bring us to two re-recorded versions of earlier demos “Taistelu Pohjolasta” and “Hvergelmir” both epics in their own right with searing riffs and atmospheric synth melodies that strike a effective balance between violent chaos and majestic beauty, conjuring sublime natural scenes not unlike the mountains gracing the cover art. Moonsorrow then proceed to wrap things up with another masterful cover, playing a relentless version of Merciless’ “Back to North”, capturing the blistering energy of old school death metal.

For its impeccable musicianship, folk-tinged melodies and convincing, thematic delivery, Tulimyrsky is one of the greatest metal EPs ever made, shaming the full length efforts of countless other bands in its wake. Now that I’ve heard what Moonsorrow can accomplish with one EP, I’m more than anxious to get a hold of their official ‘albums’ and will be in restless anticipation for their next one. I will also urge you to do the same.

For Whom the Bell Tolls (Metallica Cover)

Empyrium. Where at Night the Wood Grouse Plays . 1999. 4 stars .

Germany’s now defunct Empyrium have crafted a gorgeous neofolk album in the same vein as Ulver’s Kveldssanger, complete with classically inspired acoustic melodies and haunting, Gregorian inspired vocals. While albums embracing acoustic instrumentals and forest imagery are becoming increasingly common in underground music circles, Where at Night is so succinct and convincing in its vision that its beauty is hard to match.

The sound created by the soft guitar arpeggios is sweeping and majestic, making songs like "A Pastoral Theme" and "Abendrot" deep and relaxing exercises. Most of the album is instrumental with the exception of a few tracks like "Many Moons Ago" and "Where Shadows Grow Longer" where the deep, almost religious sounding chants weave narratives of mystical forests and enchanted encounters with their inhabitants. The result of pairing almost ancient dynamics with acoustic songwriting is almost unnervingly successful, as these graceful tones will send chills down your spine.

For a twilight journey into the heart of the wilderness, Empyrium is the guide of choice, as they create a rich atmosphere that rivals the darkest black metal records without the brutal musicianship. The only downside to Where at Night is that its far too short, clocking in at around 30 minutes. Just as the melodies are sucking you in, the experience fades off. The sun rose a little too early I suppose. Despite its short duration, Empyrium’s opus remains a masterpiece of refined instrumentation.

October Falls is the project of Finland’s Mikko Lehto, who creates haunting acoustic folk songs reminiscent of Ulver’s black metal trilogy. While the guitar melodies, accompanied by delicate piano and martial drumming, are stunningly beautiful, they also convey a dark woodland atmosphere, as this video reveals. Despite looking like something I would have made in my second year of Film School, this clip really captures the mood of October Falls’ excellent album Marras (2005). It’s easily one of the most impressive neo-folk albums I’ve come across.

Agalloch. Of Stone, Wind and Pillor. 2001. 3.5 stars.

Seeing that my review of Agalloch’s sublime White EP is the most read post on my blog so far, I thought it would be worthwhile to visit some of the band’s previous, and hard to find, EPs. Starting things off with Of Stone Wind and Pillor, which is mostly a scatter shot collection of tracks left off their debut album Pale Folklore, we find Agalloch’s more experimental and neo-folk tendencies begin to shine through.

As the great cover art demonstrates, this EP is a testament to untouched landscapes, expressing hard felt desires to abandon the calls of civilization and escape to the dark confines of the forest. While the opening title track is familiar fare from Agalloch, sounding like an unpolished outtake from their more fuller sounding LPs, the two following instrumental tracks “Foliorum Viridium” and “Haunitng Birds” are atmospheric gems, full of ringing acoustic guitars, graceful piano and the cinematic use of choir samples, adding an another layer of complexity to Agalloch’s epic sound.

The EP’s highlight however is the stirring cover of Sol Invictus’ “Kneel to the Cross” which begins with the spine chilling chant of “Summer is a’ coming, arise, arise”, before the band fully immerses themselves in a folksy tale of violent Christian conquest over ancient lands. This song brilliantly captures the essence of Agalloch: organic sounding, ambitious and full of cultural allusions and Gothic imagery. In short, despite its overall unevenness, the standouts on Of Stone are among Agalloch’s most impassioned efforts.

Agalloch. The White EP. 2008. 4 stars.

Hailing from the misty forests of Portland Oregon, Agalloch has earned themselves a substantial cult following with their blend of atmospheric black metal that incorporates folk and ambient elements, producing several critically acclaimed albums and EPs over the last decade. The White EP continues on with the band’s distinguished tradition with a renewed emphasis on the neo-folk aspect of their sound, mostly relying on acoustic guitars, hushed vocals and atmospheric effects to get to black heart of this dark genre.

Taking a step away from the growls and punishing instrumentals often associated with metal, Agalloch’s ambient exercises mark a significant departure from convention. The shift is dramatic without betraying the quality of their past (heavier) work, as the acoustic compositions express Agalloch’s organic approach toward crafting evocative sonic landscapes, focusing on an aesthetic that sets the group apart from their many contemporaries.

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Primordial To the Nameless Dead. 2007. 3 stars.

I discovered this release after it had received such a strong showing on Rate your music’s Top 2007 list and its interesting to see how underground metal acts, in all sub-genres, are generating extensive cult followings online. Primordial’s grand atmospherics, passionate intensity and Celtic underpinnings make them standout among a cluttered field of Black Metal provocateurs. The sound here is epic and sweeping as the band indulge in lengthy, yet stunningly focused, song structures.

The thematics of this album explore the prideful and gluttonous failings of mankind, with tracks like “Empire Falls”, “As Rome Burns” and “No Nation on this Earth” hearkening back to the nomadic tribulations of warriors long lost, of barbarian invaders trekking across Northern Europe and the Nordic forests to make epic confrontations against imperial hordes.

If this all sounds over the top, its because it is. But the majesty and ferocity of this music overcomes its obvious lyrical pretensions. The vocals here are quite interesting as well, abandoning beast-like moans and growls for the more refined and emotional tenor of Alan Averill.

The exhaustive length of the album’s songs due take a toll on having a full, contemplative listening experience, as the epic dirges tend to drag on, blending into each other across its progression. But To the Nameless Dead remains an intriguing release that certainly demonstrates the band’s technical prowess and penchant for crafting mood and atmosphere.

I thought it would fitting to throw up a song that captured the feelings of my commute this morning. The cold, the dark, the long drawn out wait, the hellfire. Well maybe not the hellfire. Anyways, this song from the album The Mantle gave my frustrations a cathartic soundtrack while I watched the snow blow across the dirty suburban roads. Rock on.