Reviews: Watain, Jord, Thragedium, Asteroid Witch/Greenseeker (Reviews By Matt Bladen, Paul Hutchings, James Jackson & Rich Piva)

Watain - Die In Fire, Live In Hell (Nuclear Blast) [Matt Bladen]

As evil and mean as Watain are on record, their true mastery of the stage is why they are considered to be such an important band in the black metal sphere. If you've ever been to one of their live sermons then you'll still be able to smell the incense and pigs blood, feel the flames on your face and have a ringing in your ears as they will have immersed you into their heretical universe. 

To celebrate 25 years of Satanic worship, Watain have release a new live album entitled Die In Fire – Live In Hell. It was recorded by Jamie Elton at a sold-out show at Stockholm’s Fållan on October 7th, 2022, it was then mastered by Tore Stjerna at Necromorbus Studio so you don't just get ferocity of Watain rebellious black metal sound but it's been given the best audio it can so you can almost experience all those sensations I mentioned earlier. 

Captured on their The Agomy & Ecstacy Of Watain tour, the bulk of the set comes from that album, but also Casus Luciferi, Lawless Darkness, The Wild Hunt and Trident Wolf Eclipse, with a cover of Bathory’s The Return Of Darkness And Evil coming just before the last two songs. The 12 song assault on the senses begins with Ecstasies In The Night Infinite and multifaceted riff shifting number that does everything in under five minutes, which means that on the longer tracks such as Black Salvation they can bring a more deliberate pace rather than the full on blasting of The Howling or Devil’s Blood, Erik Danielsson even making light of their pyrotechnical display before the raw explosivity of Reaping Death. 

Watain have captured their live ethos with this record, it’s distorted and gnarled enough to not sound like a studio record but with enough polish to make you feel you’re a part of it, especially the short interlude of Not Sun Nor Man Nor God which shifts into the rampaging Before The Cataclysm. Take this as an invitation to a future Watain gig, this audio combined with breath-taking visuals is what all the fuss is about. You get the one side here but that’s scarier than waking up with an hangover after a Halloween party. 8/10

Jord – Tundra (Hammerheart Records) [Paul Hutchings]

Sitting very much in the post-black metal shoegaze galaxy occupied by Alcest, Russian Circles, Borknagar and many more, Swedish outfit Jord’s latest release Tundra is a worthy addition to the list. A dreamy sweep of atmospheric music that cascades in several dimensions, triggering fantastical emotions, the seven-song release is ideally timed to coincide with darker, wintery evenings. A deep dive on a black evening with a roaring fire and a fine glass of wine would be the ideal platform from which to launch into this compelling release.

It’s a massive piece of work, coming from an outfit which was originally a one-man project by musician Jurg. Drawing on nature, folk lore, myths, Jurg released two albums, Sol and Måne before recruiting two additional musicians to create the second version of Jord as a three-piece.

It’s an album of massive contrasts. Explosive black metal bursts on tracks like Kyla contrast with the emotive drifts of Snöfödd, but each brings its own merits. The walls of shimmering tremolo riffs and thunderous drumming complete with snarling vocals provides a fantastic contrast with the more gentle, ethereal passages that flip in and out through the album.

There’s no real preference about style, as the contrast is what works so well here. On Tundra, stories of ancient gods and mystical beings from Swedish tales mix with the observations around modern day struggles. Underlying all of this, the message that the elite will ultimately fall when they have pushed too far. Personally, I find this possibly too idealistic, but I admire the sentiment, and come the revolution, I’ll be on the barricades.

Stunning in its beauty, such as the brief title track that closes the album with simplicity, Tundra takes a few listens to absorb. Once you’ve got this album under the skin, it’s difficult to let it go. Certainly, it’s a taste not to everyone’s liking, but if you find yourself caught in the atmospheric roller coaster that the band craft, this is a magnificent release to lose yourself within. 8/10

Thragedium - Lisboa Depois De Morta (Alma Mater Records) [James Jackson]

Part of the band bio reads: for fans of Moonspell and Paradise Lost - well colour me intrigued, moreover this band are not only highly regarded by Moonspell vocalist Fernando Ribeiro, but the new album is being released through his Alma Mater Record label. In their bio, Fernando sings praise for the band’s musical vision and use of Portuguese roots within their music.

Opening with an acoustic guitar and solemn drum beats is Desagregacao and the “For fans of..” recommendation is spot on, allegedly it’s Nneo folk metal, I’ve heard a few folk metal albums over the years but I feel this is probably one of few that really works, the acoustic guitar, played (presumably) with authentic Portuguese influences flows well with the background of a doom metal foundation, I’ve heard other folk metal albums where, certainly to me, the folk elements seem to be at odds with the metal sound but this is not one of them.

 
It’s a theme that runs throughout the whole album alongside the use of the Portuguese language, another great example of this is Um Mal Necessario, a track occupied by a band proud of its heritage, keen to bring it to the fore within their music. There’s a haunting hypnotic quality to O Pacto, as a tribalistic drum beat and minimalist guitar sound play background to a whisper of a vocal melody, all in Portuguese with choral harmonies, it’s befitting of the dark tone of the album.

 
I’ve only touched upon a few tracks but these feel characteristic of the album and the feel that the band are going for, it’s a great example of how metal can be infused with another albeit different genre, that sympathetic songwriting can balance the differences and make them whole, this is definitely one to check out. 8/10

Asteroid Witch / Greenseeker - Asteroid Witch / Greenseeker Split (Electric Valley Records) [Rich Piva]

I love a good split album, especially when I can learn about another cool band that is partnering with the one that I already dig. That is exactly what we have here with two very cool bands who share the home city of Portland, Oregon: Greenseeker, who I love and had an album in my top 25 of 2022, and Asteroid Witch, who I was not familiar with and who came up with their name using the doom metal band name generator. Both bands play a fuzzy 70s proto/doom style that is right in my wheelhouse. Asteroid Witch gives us four and Greenseeker two tracks of fuzzy goodness that will have you clamoring for each of the bands’ back catalog to figure our what these guys are both all about.

As far as I can tell the songs from Asteroid Witch’s side is the first material they have released except for a single that appears here on the split as well. The are a bit heavier than Greenseeker and lean more towards a heavy psych/heavy space rock feel.  The opening track From Other Worlds, is covered in space fuzz and is an excellent introduction to the band’s take on heavy psych. Swirling heaviness around vocals that are almost in the background, this track is a crusher. This reminds me of something off the new and excellent High Priest album from earlier this year. 

Time Crystal/Mind Prism is like a heavier Hawkwind, and it is great. The noise effects, the heavy riffs, the echoey vocals and the drum work makes this the premier track on the entire split. Prophets Of The Celestial Temple is a mostly instrumental fuzzy space ripper that really picks up the tempo and has a killer solo. Losing none of the spacey goodness, the last track, Astral Projection continues the intergalactic journey and leaves you wanting a part two in the shape of a full-length Asteroid Witch album where you can drift away with that awesome guitar work. 

The Greenseeker songs are two longer, more 70s proto vibes leaning tracks with a great use of keys and the excellent vocals from Lauren Hatch. As mentioned earlier I love Greenseeker, so a song like the nine-plus minute Curse Of The Black Cloud with the awesome keys, sweet guitar parts (including a cool solo), and those haunting vocals brings more of an occult rock feel, harkening to a cross between Lucifer and Blood Ceremony. Devil’s Grave Touch is even more epic, with some doomy riffing paired with those keys and vocals that are becoming the trademark Greenseeker sound. These two tracks are both over ten minutes, but never do they sound too long or drag, and they keep you engaged throughout.

As I expected, this split seems like it was curated for the reviewer. Both bands bring it with the songs and their playing, and I love that I have now been introduced to Asteroid Witch by an already beloved band, Greenseeker.  This is excellent stuff that will not disappoint. Portland has quite the scene developing with bands like Asteroid Witch and Greenseeker representing strong. 8/10