Reviews: Fen, Chris Boltendahl's Steelhammer, Omicida, Redeye Caravan (Reviews By Matt Bladen)

Fen – Monuments To Absence (Aural Music)

There are bands that can be used as lynchpins for entire genres, laying down the foundation for many others to come. In the UK black metal scene Forefather stand as the originators of the melancholic, atmospheric black metal sound inspired by paganism, history and the countryside. This gave birth to bands such as Winterfylleth, Wodensthrone and Fen, who have carried the ethos and style for years now.

Started as a studio project started by Grungyn (bass/vocals), Theutus (drums) and The Watcher (guitar/vocals), the idea of Fen, was to convey the ever changing landscape of the Fen region of East Anglia, England, using the colours of the album artwork to convey the content within, adapting each record to fit in with the overall theme.

Monuments To Absence is red, the first time they have used this colour, for those that know about the connotations of colour, red symbolises anger and frustration, and it means that this seventh album is the trio’s most fierce record since their early days, the despair and futility of human life channelled through explosions of black metal ferocity; most of To Silence And Abyss We Reach, euphoric cries into the void, the brilliant title track and densely cultivated atmospheres of melancholy on the opening of Truth Is Futility or the middle of Eschaton’s Gift.

With JG now on drums (since 2020), they still delve into the esoteric, tracks such as Thrall where there’s a slow burning build from solitary clean guitars, the addition of impulsive drums, choral backings before the huge climax of the main song as choirs are countered by black metal screams and biting guitars. The interplay between the three members is unparalleled, using lots of layers to broaden their scope, choirs, strings, keys all brought into the final mix, to impart a cinematic listening experience, with the lighter moments of some of their previous albums hidden in between the volatile expressions of extremity. 

Never ones to shy away from ambition, Monuments To Absence contains the widest selection of soundscapes Fen have attempted, while also making their most aggressive extreme album. Epic songs that shift a multitude of times between differing styles, Monuments To Absence should be near the top of your list if you’re a fan of intelligent, affecting extreme metal. 9/10

Chris Boltendahl's Steelhammer - Reborn In Flames (ROAR! Rock Of Angels Records) [Matt Bladen]

Having spent many years as the voice of Grave Digger, we now get Chris Boltendahl’s debut solo record. Recorded under the band Steelhammer, it’s a record that features some of the very talented German power metal scene, bringing in ex-Orden Ogan man Tobias Kersting to play guitars and co-write the album with Chris. 

Behind them in the Teutonic engine room is Lars Schneider on bass (ex Orden Ogan) and Patrick Klose on drums (Iron Savior). They set the pace to marching chuggers such as Gods Of Steel and the Rage-like Let The Evil Rise, while they let loose on the speedy numbers such as Fire Angel and the title track where Kersting unleashes his virtuoso lead playing. 

On top of everything though is the unmistakeable vocal of Boltendahl, is voice is like gravel, shouted and gritty as channels Lemmy on Die For Your Sins, while on the power/classic metal tracks he’s of course more in line with his day job. Grave Digger are an obvious comparison but I’ve also seen people say Metal Church and I can hear a lot of the American institution in Reborn In Flames. 

With a lot of classic metal throughout I do wonder if the metal cover of Midnight Oil’s Beds Are Burning was needed but I guess the band wanted to do it, but I don’t’ see the need of it. Still Reborn In Flames gives you exactly what you’d expect from anything involving Chris Boltendahl, classic heavy/power metal with a bit of muscle. 7/10

Omicida – Sacrifice The Bastard Son (Punishment 18 Records)

Omicida is thrash as old school as it can be, Sacrifice The Bastard Son manages to take influence from both Slayer and Testament, as this third album continues to carry on the thrash legacy. While some bands have slowed *cough* Evile *cough* Omicida continue to play as fast as possible the Tom Araya meets Chuck Billy delivery of Philipp "PeeWee" Schnepka perfect throughout from the title track to Satanic Rebirth. Formed by drummer Gio Durst (Benediction, ex-White Wizzard/Monument), the band features a line up of current and ex members of Benediction, Monument, White Wizzard, One Machine and Damim, brought together by denim cut offs and sons about head banging, Omicida is a celebration of thrash metal. 

Gio’s drumming is relentless, he’s a machine behind the kit, Lombardo and Hoglan style battery that catches your ear even on chuggers such as Hunt For Flesh and Immortal Violence. The bass of Dan Bate controlling the speed through gallops and lightning fast runs, his experience with classic metal bands obvious. With a rhythm section of note the guitars have to be just as good and my lord if they are! With some meaty riffage on Claustrophobic Disease, black metal tremolo picking on Imminent Death and more trade-offs and dive bomb solos per song than many thrash bands throw in a whole album Nik Sampson and Jamie Hunt wear their death metal influences where everyone can see them. 

They don’t just do fast and very fast though Awakening Darkness is more measured and features lots of acoustics, though it feels more like a intro but doesn’t lead into the next song. In fact the last three tracks of this album aren’t quite as hard hitting as the earlier ones, but that could just be because I was feeling a bit punch drunk after so much thrashing. If the old school thrash bands haven’t quite met your expectations then check out Sacrifice The Bastard Son as you’ll be circle pitting in your front room. 8/10

Redeye Caravan – Snake Oil & Lullabies (Self Released)

The dark country collective from Livadia City in Greece return with a new EP that follows on from their debut record Nostrum Remedium in 2020 and single in 2021. Both did well to establish the band’s style of dark Americana where Nick Cave and Tom Waits meets Ennio Morricone and the lyrical inspiration of Charles Portis, stripped back gospel stories such as Cardinal Sin feature longing banjo and grizzled vocals from Akis Kosmidis he shares the vocals with bassist Valantis Dafkos both telling these stories of the less heroic side of the West, authentically captured by the instrumentation, much of it Panos Makoulis’ electric/slide/acoustic guitars and keys, as there are four fireside laments. 

The Circus a welcome into the twisted world of Redeye Caravan, starting with a whistle before descending into creepy vaudeville. Slow Trains Are Never Late, is introspective and defeatist while The Town tells the story in a way inspired by Sergio Leone, keening violin from Thanos Giamarelos set to the choral chants. Snake Oil & Lullabies shows that Redeye Caravan still know how to conjure an atmosphere. 7/10