Much later than I wanted to, I managed to sit down and spend some quality time with Grief Ritual and their debut album, Collapse which is out today (the 31st) via those lovely buggers at Church Road and for our international brethren, Deathwish Inc (who I’m sure are equally as lovely). Just as a side note, If you are a subscriber to Church Road, then this would have been bouncing into your inbox today.
Anyway, enough of this, what’s it like? Well, if you want a one-word review I’d go with punishing.
Yep, that will do.
Starting in a ponderous manner, Spiral floats in with a sense of foreboding and then it kicks in. It is the sound of fury beyond compare. This is brutality refined with one of the densest guitar sounds committed to tape and I’ll go out on a limb right now: Whatever comes out after this will have its work cut out in sounding anywhere near as heavy as this does. Recursion flies up next, the amped up twin of Spiral and its a near three minute blast of super thick riffing. Lyrics are spat with a venom that underpins the music, a near-perfect balance of the two.
Wardruna– Birna (Napalm Records) [Rick Eaglestone]
Once again drawing inspiration from immersion in nature, Norwegian collective Wardruna return with their sixth studio album Birna
Written over a three-year period with various constellations of personnel the journey through the Old Norse narrative of the she-bear collectively form an immersive soundscapes that oozes a naturistic heartbeat throughout and it’s no so surprise that everything has such a sense of grandeur.
Moving forward with varying elements and soundscapes is the narrative style of Madre dei Tormenti which is really given the time to explore and experiment to carve a piece that is well placed to serve as great companion to the albums crowning glory Pantàfica which again is woven with prog but with the subtlest splash of black metal swirling’s this also continues onto penultimate powerhouse Il Capro Infuocato which captures the vision and aesthetics of the album well taken in considers the backdrop of the album’s artwork created by Sheila Franco
Leaving an impression of this final iteration of Selvans is the near 10-minute opus Fonte dei Diavoli which leaves no stones unturned, and this is where the orchestra and choir are really at the forefront to really create a musical offering that is well structured and delivered in most areas.
It just doesn’t stop, just as one finishes there is no time to recover before its replaced by another incendiary slab of metal. Each track flattens the one that came before it, and they don’t repeat the same trick each time, mixing up timings, tempo and song length to suit their needs. Bile is a brick to the head, the damage done in the early exchanges as they tear through it only to drop an unearthly break-down as it winds down. One thing is consistent: the anger level remains at nuclear levels. And then they bring us Consumed.
With Consumed they usher in a sound that exceeds that anger level and it is a high point here, everything coming together in such a way that is incredibly cathartic. There is a message behind it, and they make sure you get it and it makes perfect sense. One of the best songs you will hear this year, no question.
After that, it becomes the aural equivalent of a fight between two hopelessly mismatched opponents with Collapse in the red corner as the champ of fucking your shit up and you in the blue corner as Hoagie from accounts. The rest now come at you in short order, the smell of blood in the air as they continually hammer you and its easier to talk about the album as a whole rather than zero in on individual moments (there are many) such as the break at around 2 minutes 40 on Artifice, or the bludgeoning start to Calcify, its not that they don’t deserve a deep dive on them, its just that its redundant when each one is as good as these are. I
With Consumed they usher in a sound that exceeds that anger level and it is a high point here, everything coming together in such a way that is incredibly cathartic. There is a message behind it, and they make sure you get it and it makes perfect sense. One of the best songs you will hear this year, no question.
After that, it becomes the aural equivalent of a fight between two hopelessly mismatched opponents with Collapse in the red corner as the champ of fucking your shit up and you in the blue corner as Hoagie from accounts. The rest now come at you in short order, the smell of blood in the air as they continually hammer you and its easier to talk about the album as a whole rather than zero in on individual moments (there are many) such as the break at around 2 minutes 40 on Artifice, or the bludgeoning start to Calcify, its not that they don’t deserve a deep dive on them, its just that its redundant when each one is as good as these are. I
f you imagine that you press play/start/go whatever there is no dip in anything, anywhere on this album and that extremely high bar that was set at the start is met each and every time. At their base level, they are simply heavy AF but to call them just heavy is a disservice of the highest order. Putrefy is an example of this – a build that a thousand other bands would sell their nearest and dearest for the ability to do it. Its immediate and intelligent and of course, Heavy.
Speaking of immediate, Marrow closes out by deciding to take the bar and bend it in two. As a complete piece of work, this is nothing short of stunning. Simply put, this is an essential purchase. Call it metallic hardcore, call it blackened, call it whatever you want but this is something you are going to be listening to years from now. 9/10
Wardruna– Birna (Napalm Records) [Rick Eaglestone]
Once again drawing inspiration from immersion in nature, Norwegian collective Wardruna return with their sixth studio album Birna
Written over a three-year period with various constellations of personnel the journey through the Old Norse narrative of the she-bear collectively form an immersive soundscapes that oozes a naturistic heartbeat throughout and it’s no so surprise that everything has such a sense of grandeur.
As well as heavily contributing to Wardruna Einar Selvik has composed music for large tv and game productions such as Vikings and Assassin’s Creed – Valhalla and drawing from that musical experience as well as not discounting the tutorials and lectures on Old Norse literature, musicology, instruments and philosophy there is a real sense of life imitating art and vice versa and with all of the elements to draw from its easy to understand why this album in particular stands out.
There are certainly a multitude of highlights such as the fifteen minute score style Dvaledraumar and the heart rendering combination of Tretale and Lyfjaberg which ultimately close the album but clearly encapsulates the aesthetic of such a creative offering.
The album features guest appearances by Koret Artemis (Choir), Jonna Jinton (vocals and field recordings), Hans Fredrik Jacobsen (willow-bark flute), Kenneth Lien (Jaw-harp), Iver Sandøy (backing vocals which add vibrancy and constant dynamic shift to really portray one oldest myths of mankind in the northern hemisphere
Finally, explaining the contemplation and creation process vocalist Einar Selvik:
“When I walk into a forest, I open my senses and listen for whatever nature cares to tell me.”
Embodies the very circle of life. 8/10
Confess - Destination Addiction (EVIN Productions) [Mark Young]
And this is the last one for January, honest to god.
Confess, based in Norway by way of Iran decide to give January the farewell it doesn’t deserve by dropping their latest full-length album, Destination Addiction.
There are certainly a multitude of highlights such as the fifteen minute score style Dvaledraumar and the heart rendering combination of Tretale and Lyfjaberg which ultimately close the album but clearly encapsulates the aesthetic of such a creative offering.
The album features guest appearances by Koret Artemis (Choir), Jonna Jinton (vocals and field recordings), Hans Fredrik Jacobsen (willow-bark flute), Kenneth Lien (Jaw-harp), Iver Sandøy (backing vocals which add vibrancy and constant dynamic shift to really portray one oldest myths of mankind in the northern hemisphere
Finally, explaining the contemplation and creation process vocalist Einar Selvik:
“When I walk into a forest, I open my senses and listen for whatever nature cares to tell me.”
Embodies the very circle of life. 8/10
Confess - Destination Addiction (EVIN Productions) [Mark Young]
And this is the last one for January, honest to god.
Confess, based in Norway by way of Iran decide to give January the farewell it doesn’t deserve by dropping their latest full-length album, Destination Addiction.
One man wrecking crew Nikan ‘Siyanor’ Khosravi has enlisted the help of George Kollias (Percussive destructive god) to go that little bit darker and a whole lot more technically technical. Throw in some samples via Arash Ilkhani and you have a decent slab of extremity. You may have heard them before; Arrested and jailed for playing metal in 2015 in their native country. If you haven’t read that story, I strongly suggest you do.
Starting with Built On A Grave takes a simple build and layers it, stepping up through the gears and this is where GK comes in and just does his thing. If you aren’t aware of his work, look up Nile as your starter for ten. Nikan Khosravi is the man pulling the strings here, working in some good riff work but lets the drums carry the load and it’s a masterclass in deft touches and knowing exactly when to hammer down.
Starting with Built On A Grave takes a simple build and layers it, stepping up through the gears and this is where GK comes in and just does his thing. If you aren’t aware of his work, look up Nile as your starter for ten. Nikan Khosravi is the man pulling the strings here, working in some good riff work but lets the drums carry the load and it’s a masterclass in deft touches and knowing exactly when to hammer down.
It’s a great start that is followed by the sound of Slaughterhouse that has a manic start that mixes in groove and death metal styles to good effect. It feels like this is more in line with Nu-metal in the slower moments – think that percussive chug but when they put the foot down it just flies and is immediately more effective and if they had kept that approach, we would be having a different conversation as the faster sections are spot on.
Expedition follows and is a step up in attack, going in aggressively and utilising Arash and his samples filling the sound. This has an early phase Slipknot sound to it especially in the transition when it changes pace but shouldn’t be held against them. Its efficient and brutal and more importantly, isn’t a ballad. But it does leave me in two minds as I naturally lean towards the faster side of things and that groove chug holds it back.
Dark On Both Sides has a brilliant opening arrangement that gradually steps back which is fine. Its when they drop that chug-chug in again that puts me off. However, they reprise those opening guitar lines and it changes everything. My problem is that they are trying to shoehorn both sides of their art into one song and its not working. This didn’t have to have that chug moment in there. Suicide Song works better because the transitions flow more organically and as a result the differing timings sit together so well.
Final Lap on the other hand is just something else; it’s a masterclass in controlled fury that utilises that runs like two songs in one. The first half is straight up metal mayhem, the closing moments are put together with an eye to melody and immediately makes Final Lap a relative high point. After Goliath bounds in next, energised by Final Lap and with an approach that relies on a cracking riff build, and a lead from Marzi Montazeri that sets fire to the place.
Origami God keeps that momentum going, and yes there are slower moments in it, the overall vibe is one of speed and aggression, and my word with Only Shackles To Lose they take the opportunity to bury the needle and just tear things up as we reach their final statement. Breathe In. Breathe Out keeps on the right track, staying more within the speedier side of their sound which I think is always critical; End things on a brutal note, play as aggressively as you can, make that statement of intent. I’m not sure if the groove moments worked, but as a whole is a pretty good effort. I felt that there was a definite change as we entered the latter half of the album but that’s just personal taste. 7/10
Selvans– Saturnalia (Avantgarde Music) [Rick Eaglestone]
Taking inspiration Italian folk horror and imagery the singer/keyboardist behind Selvans comes crawling out of the shadows bringing with them an orchestra and choir to deliver their newest sermon Saturnalia – which is entirely performed in Italian also bringing a conclusion to this current project.
Consisting of six tracks Saturnalia the albums begins with the gothic influenced instrumental Necromilieu which does an impressive job of setting the tone for the rest of the composition which thunders into the follow up track Il Mio Maleficio V'incalzerà! Laden with solos and keyboards galore.
Taking inspiration Italian folk horror and imagery the singer/keyboardist behind Selvans comes crawling out of the shadows bringing with them an orchestra and choir to deliver their newest sermon Saturnalia – which is entirely performed in Italian also bringing a conclusion to this current project.
Consisting of six tracks Saturnalia the albums begins with the gothic influenced instrumental Necromilieu which does an impressive job of setting the tone for the rest of the composition which thunders into the follow up track Il Mio Maleficio V'incalzerà! Laden with solos and keyboards galore.
Moving forward with varying elements and soundscapes is the narrative style of Madre dei Tormenti which is really given the time to explore and experiment to carve a piece that is well placed to serve as great companion to the albums crowning glory Pantàfica which again is woven with prog but with the subtlest splash of black metal swirling’s this also continues onto penultimate powerhouse Il Capro Infuocato which captures the vision and aesthetics of the album well taken in considers the backdrop of the album’s artwork created by Sheila Franco
Leaving an impression of this final iteration of Selvans is the near 10-minute opus Fonte dei Diavoli which leaves no stones unturned, and this is where the orchestra and choir are really at the forefront to really create a musical offering that is well structured and delivered in most areas.
I do feel with the final elements of orchestra and choir at their disposal they could’ve have used them a little bit more rather than rely on varying styles to complete this last piece of puzzle. The splashes of influence are clear for all to hear I just feel it would have added just that extra sense of grandeur.
Laden with Heavy, Black metal elements with a prog twist. 6/10
Laden with Heavy, Black metal elements with a prog twist. 6/10
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