Borknagar have always been a band existing on the exploratory and progressive fringes of extreme metal. Since the band's inception in 1994, Borknagar were formed by Øystein Garnes Brun to create more melodic music and push the boundaries of the black metal genre. It is an ethos that has served the band for 30 years and across eleven albums with each album offering a different variant of the Borknagar sound and that continues with the twelfth album from the band Fall.
Borknagar have adopted a more epic sound on their last couple of albums and this is carried over onto Fall although given new and different dynamics. Album opener Summits is vast and cinematic and conjures up images of mountains and dramatic landscapes through its massive soundscapes and enormous melodies. When you have two singers in the band as good as ICS Vortex and Lars Nedland it makes perfect sense to write music as majestic as this.
Second song Nordic Anthem sees the band exploring more tribalistic and folk leaning territory bringing to mind acts such as Wardruna but with the luscious melodies that Borknagar do so well. The band’s unmistakable brand of melodic black metal and progressive song structures is fine tuned and finessed on Fall with lengthy epics such as Stars Ablaze and Northward ensuring that hairs are standing on end whilst shorter tunes such as Moon and Unravelling are so full of atmosphere, emotion and progressive twists and turns that they are prog epics in their own right.
Borknagar maintain the purple patch of albums they have had with Urd, Winter Thrice, True North and Fall is another majestic beast of an album. It is one of those albums that feel like they have taken you on a journey by the time it ends. Like all good progressive music it has a lot of different moods and emotions to it. It is one of the least black metal albums of Borknagar’s career though there are aggressive and blackened moments throughout and plenty of harsh vocals from Lars Nedland. Borknagar continue to embrace the prog and quite simply it sounds absolutely amazing. 9/10
Job For A Cowboy – Moon Healer (Metal Blade Records) [Lee Burnell]
Job For A Cowboy have given fans exactly what they’ve been asking for. Since 2014’s Sun Eater LP, fans have been on a ruthless campaign for the band to come out of hiatus and when teasers for something new started hitting social media last year, I, like many thousands of others became very excited to see what’s in store.
Every offering from Job For A Cowboy has left a lasting impression on deathcore and technical death metal fans alike and Moon Healer is no different. Continuing where they left off from Sun Eater, it quickly becomes evident that the combination of guitarists Al Glassman and Tony Sannicandro thrive in their technical element throughout this record and Navene Koperweis has done a fantastic job of replacing an already fantastic drummer in Jon Rice and puts his own finesse on the record. Johnny Davy brings back his signature growls and snarls and one thing the band does very well throughout the record is to stand out of each other’s way, Al and Tony know when to riff and when to shred, Navene doesn’t overdo any drumfills and Nick can shine during the prog sections.
Overall, the record flows very nicely with an 8 track LP with an occasional blurring of lines between tech-death and prog which allows Nick Schendzielo’s bass to take centre stage in a very hypnotic way – proof of this is The Sun Gave Me Ashes So I Sought Out The Moon. Key highlights of the record include the opener Beyond The Chemical Doorway and The Agony Seeping Storm but I’m very much onboard for this progressive tech-death approach that the band are leaning towards.
Moon Healer is a very welcomed return to form for Job For A Cowboy who don’t seem to have missed a beat in the 10 years between records and I’m looking forward to seeing some of these belters live. 9/10
Borknagar maintain the purple patch of albums they have had with Urd, Winter Thrice, True North and Fall is another majestic beast of an album. It is one of those albums that feel like they have taken you on a journey by the time it ends. Like all good progressive music it has a lot of different moods and emotions to it. It is one of the least black metal albums of Borknagar’s career though there are aggressive and blackened moments throughout and plenty of harsh vocals from Lars Nedland. Borknagar continue to embrace the prog and quite simply it sounds absolutely amazing. 9/10
Job For A Cowboy – Moon Healer (Metal Blade Records) [Lee Burnell]
Job For A Cowboy have given fans exactly what they’ve been asking for. Since 2014’s Sun Eater LP, fans have been on a ruthless campaign for the band to come out of hiatus and when teasers for something new started hitting social media last year, I, like many thousands of others became very excited to see what’s in store.
Every offering from Job For A Cowboy has left a lasting impression on deathcore and technical death metal fans alike and Moon Healer is no different. Continuing where they left off from Sun Eater, it quickly becomes evident that the combination of guitarists Al Glassman and Tony Sannicandro thrive in their technical element throughout this record and Navene Koperweis has done a fantastic job of replacing an already fantastic drummer in Jon Rice and puts his own finesse on the record. Johnny Davy brings back his signature growls and snarls and one thing the band does very well throughout the record is to stand out of each other’s way, Al and Tony know when to riff and when to shred, Navene doesn’t overdo any drumfills and Nick can shine during the prog sections.
Overall, the record flows very nicely with an 8 track LP with an occasional blurring of lines between tech-death and prog which allows Nick Schendzielo’s bass to take centre stage in a very hypnotic way – proof of this is The Sun Gave Me Ashes So I Sought Out The Moon. Key highlights of the record include the opener Beyond The Chemical Doorway and The Agony Seeping Storm but I’m very much onboard for this progressive tech-death approach that the band are leaning towards.
Moon Healer is a very welcomed return to form for Job For A Cowboy who don’t seem to have missed a beat in the 10 years between records and I’m looking forward to seeing some of these belters live. 9/10
Morta Skuld - Creation Undone (Peaceville Records) [Charlie Rogers]
For over 30 years Morta Skuld have been putting out ear blistering bangers. Admittedly, there was a brief 14year hiatus in the middle of that, but their passion for death metal hasn’t diminished. Creation Undone is the 3rd full length release since the come back, and their 7th in total. Taking on themes of disrepair, a crumbling society, and generally avoiding the gore obsession many bands of their ilk tie their flags to, Morta Skuld’s particular brand of Milwaukeean misery stands above the crowd.
Immediately catching the listener, We Rise We Fall opens the record with an aggressive earworm - the main riff is seriously difficult to evict from your head. Tons of groove, increasingly frantic drumming, and David Gregor’s signature rasping growls propel you through the sonic broken glass. It’s a visceral, energetic track that enthrals you from the get go, and sets the stage for the album as a whole.
Immediately catching the listener, We Rise We Fall opens the record with an aggressive earworm - the main riff is seriously difficult to evict from your head. Tons of groove, increasingly frantic drumming, and David Gregor’s signature rasping growls propel you through the sonic broken glass. It’s a visceral, energetic track that enthrals you from the get go, and sets the stage for the album as a whole.
Each song contains all the elements you’d want from an Old School Death Metal jam - angry riffs, punchy drums, dark melodies, and grinding sawing guitar tone. There are a few guitar solos mixed in amongst the tracks, some taken by frontman David Gregor, some taken by fellow guitarist Scott Willecke - none of which drag on forever, solid sections that add flavour without being overly flashy.
The production is solid on the whole, with guitars sitting front and centre in the soundscape, John Hill’s tasty bass playing given a wide berth to punctuate the phrases, and Eric House’s thunderous drumming setting each section’s pace. Nothing gets lost in the soundscape, and the album is a delight to listen to.
The production is solid on the whole, with guitars sitting front and centre in the soundscape, John Hill’s tasty bass playing given a wide berth to punctuate the phrases, and Eric House’s thunderous drumming setting each section’s pace. Nothing gets lost in the soundscape, and the album is a delight to listen to.
While each track features a number of riffs with small variations on pace or tone, there isn’t a whole lot of difference between each song. Chances are if you get on with the opener, you’ll have a great time with the whole record. However, the flipside is also true - if you gel with the first few minutes of Creation Undone, the rest of the album doesn’t hold any secrets - and to be fair, death metal probably isn’t for you.
Given their track record, it’s a little baffling why Morta Skuld aren’t as much a household name as their contemporaries in the likes of Death and Obituary, or even their labelmates Cancer and Autopsy. Creation Undone should remedy this however, as it’s a solid release that will cement Morta Skuld in the mind of any self respecting death metal fan. Jam it in your ears, and good luck trying not to hum We Rise We Fall for the next few days. 9/10
Given their track record, it’s a little baffling why Morta Skuld aren’t as much a household name as their contemporaries in the likes of Death and Obituary, or even their labelmates Cancer and Autopsy. Creation Undone should remedy this however, as it’s a solid release that will cement Morta Skuld in the mind of any self respecting death metal fan. Jam it in your ears, and good luck trying not to hum We Rise We Fall for the next few days. 9/10
Hand Of Kalliach - Corryvreckan (Prosthetic Records) [Mark Young]
And now something in a different vein. Hand Of Kalliach bring their folk-infused atmospheric and melodic metal on this their second album. A duo, with John handling vocals, guitar, and drums and Sophie, handling vocals and bass. This is a superlative blend of themes that although set within the folk genre, this leans more into the atmospheric realm of extreme metal.
Three Seas with its ethereal vocals dominating the early build, the arrangement expanding as the growled delivery comes in. Pounding drums and a solid riff batter as if to convey a sense of fighting against the rough seas. There is gentle piano hidden amongst this, all coming together emphasising that although they may be rooted in folk there is nothing lightweight about its execution. All the little touches bring the atmosphere to an almost tangible point. Fell Reigns has this gorgeous refrain running through it that works in tandem with those gorgeous vocals from Sophie.
And now something in a different vein. Hand Of Kalliach bring their folk-infused atmospheric and melodic metal on this their second album. A duo, with John handling vocals, guitar, and drums and Sophie, handling vocals and bass. This is a superlative blend of themes that although set within the folk genre, this leans more into the atmospheric realm of extreme metal.
Three Seas with its ethereal vocals dominating the early build, the arrangement expanding as the growled delivery comes in. Pounding drums and a solid riff batter as if to convey a sense of fighting against the rough seas. There is gentle piano hidden amongst this, all coming together emphasising that although they may be rooted in folk there is nothing lightweight about its execution. All the little touches bring the atmosphere to an almost tangible point. Fell Reigns has this gorgeous refrain running through it that works in tandem with those gorgeous vocals from Sophie.
Riff-wise, it's simple and direct which is a good thing as it doesn’t overshadow the song and provides an effective balance. Both songs have been put together so well and it’s a great start. Any worries I had that perhaps the folk side would take precedence fall away as Dìoghaltas bursts in. This again concentrates on ensuring that your attention is engaged right from the off. Mixing those melodic touches just so they lift the material above a pure beat-down, they manage to blend the need for light and dark just right. Cracking stuff
Cirein-cròin takes that attack and refines it further but in doing so establishes a pattern at work: Muscular riff, growled vocals that step back once the female kicks in. There is nothing wrong with adapting an approach if this works, and it does as both support the other in being effective in its execution. My concern is that this will follow through on the next one possibly indicating that they have settled with a ‘it works, let’s stick with this approach’.
Deathless stomps around with breathless intent, same as The Hubris Of Prince Bhreacan which follows. Taking cues from Deathless, it bounces along with both voices getting a moment in the sun and getting the chance to expand themselves over the music beneath. Unbroken You Remain is a brutal track with John’s guttural roars tearing through set against a pummelling guitar. Those spot-on melody lines with Sophie underpinning and providing an angelic accompaniment, building on the choir like backing. There is a definite Celtic flavour, and you will know what I mean as soon as you hear it.
Cirein-cròin takes that attack and refines it further but in doing so establishes a pattern at work: Muscular riff, growled vocals that step back once the female kicks in. There is nothing wrong with adapting an approach if this works, and it does as both support the other in being effective in its execution. My concern is that this will follow through on the next one possibly indicating that they have settled with a ‘it works, let’s stick with this approach’.
Deathless stomps around with breathless intent, same as The Hubris Of Prince Bhreacan which follows. Taking cues from Deathless, it bounces along with both voices getting a moment in the sun and getting the chance to expand themselves over the music beneath. Unbroken You Remain is a brutal track with John’s guttural roars tearing through set against a pummelling guitar. Those spot-on melody lines with Sophie underpinning and providing an angelic accompaniment, building on the choir like backing. There is a definite Celtic flavour, and you will know what I mean as soon as you hear it.
The Cauldron could almost be the continuation of Unbroken, I think this is where I’m getting that sense of familiarity I mentioned earlier. There is nothing wrong with it, it's just that there is a sense of hearing it before which is a shame. Taken on its own merits, its snappy and allows the majestic Of Twilight And The Pyre which has this beautiful opening sequence where Sophie puts a stamp on it. Those almost waiflike vocals just float, the song building ever so gradually around it so when the heavy comes in, the two styles come together as this epic finale. This captures everything they have done so well on the preceding tracks. It is a satisfying climax, and they go out on a high with this.
Right, so I didn’t expect it to sound like this at all. The two vocal styles on display mesh together so well and elevate this above other atmospheric / folk bands I’ve heard. The songs are direct, fast and work in those Celtic influences so they are all working together and in every case they do. What I found that after a spell you could predict how the songs would go, which is frustrating. Its possible that in keeping that one direction going of keeping the tempos up they boxed themselves into a corner. I don’t believe it will affect your enjoyment of this, because it is a fine album.
Right, so I didn’t expect it to sound like this at all. The two vocal styles on display mesh together so well and elevate this above other atmospheric / folk bands I’ve heard. The songs are direct, fast and work in those Celtic influences so they are all working together and in every case they do. What I found that after a spell you could predict how the songs would go, which is frustrating. Its possible that in keeping that one direction going of keeping the tempos up they boxed themselves into a corner. I don’t believe it will affect your enjoyment of this, because it is a fine album.
It would be interesting to see how they would do this live and if it would differ in any way. For me this is a fairly essential purchase for fans of this genre and to repeat: There are no weak songs here. 8/10
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