Finsterforst - #Yolo (2016)

Finsterforst went from making one of the most interesting albums I've ever heard to, well... this. I'm scratching my head just as much as you are, I'm sure. But this is definitely the same band. I don't think we're in a time warp. In any case, there's definitely more of a folk vibe towards this one, possibly more like that of Tyr or Ensiferum, actually. The record sounds quite mighty at times, yet it can also have a bit of an Alestorm style kind of pirate vibe. What's more, is that there are two very interesting covers here, which you may not expect. There's also a cover here that I thought Tyr and Cruachan did much better, but I'm very particular on covers of classic folk songs, especially “The Wild Irish Rover” (here called “Wild Rover”) and very few covers really work for me. I'd love to hear them take on “Spancill Hill” though. Despite the record being a bit playful and full of ten thousand horns as well as happy world music, lyrically it's quite harsh. The music itself might appear a bit cheery, but the frontman seems to have just went right on with the ferocious snarls as if he was still performing experimental black/death. Now the first cover we have here that I'd like to talk about is Miley Cyrus's “Wrecking Ball” which I've heard covered online by various bands as it is (I'm a junkie for metal pop music covers) even though I'll say that Finsterforst really knocked it out of the park. It does carry on the electronic pop nature of the original, but with the combination of strong lead melodies and unexpectedly powerful symphonics. Yes, that sounds silly that I'm even suggesting such a thing, but if you haven't heard the original, you'll like it.

Now as for Michael Jackson's “Beat It” I actually love this song better than the original. Yes, but there's one thing. The band totally ruined it at the very beginning with some weird dub-electronic shit. I actually recommend fast-forwarding the piece a couple of seconds until you actually hear the first set of riffs, which begins the song. This is actually such a big deal to me that I'm going to carry the track over to a program I have and cut the whole beginning of it off. I've done this before with cuts that I add to my personal collection and if it makes me enjoy the song even more, than it's worth it. As for the cut, the clean vocals are awesome here. I didn't expect the horns, but that solo is actually better than Eddie Van Halen's. I wish it was a little longer. I told you guys, I'm a real stickler about metal pop covers, especially since “Beat it” got me into guitar based music around the age of five. I'll applaud their experimentation, but less is more here. We also have some rapping on the record in the form of “Der durch die Scheibeboxxxer” which is definitely not something I would have expected from this band. The rapping is in German, but will probably turn off fans of their previous works for sure. It almost seems like they went from a serious act to JBO territory. In any case, this short but sweet little experiment is going to come at fans like a punch in the nose and hopefully they'll recover after such a hefty blow. I can't say that I hated it, but it wasn't a terrible record either. Just a bit different than I would have ever expected from the act. Definitely listen to a few songs first if you're on the fence. I still have no idea what came over them to make this recording, but it's definitely strange.

(10 Tracks, 41:00)

7/10

Netherbird - Windwards (2016)

The Grim Lord is a bit torn on how to cover this one. The Swedish synth/melodic black metal act have been around for a good number of years now and are about to release their next full-length in about eight days. But the problem with this single and the latest single, is that they each contain two songs which will appear on the record and two that won't. Problem is, these songs aren't simple cuts that don't really make a difference. They're full-lengths that should have really been on the record itself. On this particular single we have “Sculptors and Spectres” which to me, sounds like a pretty potent black metal cut. It also reminds me a little of Naglfar and Dissection and comes out far more interesting than Thulcandra's latest offering, which doesn't even need to be named. Needless to say, the song is quite powerful. “Windwards” itself was already good, and it'll sound great on the album – but this nickel and dime shit to me is just terrible. To be fair, the band did release this single in July, so it's a good teaser for the album. You'll like both tracks and they're pretty strong. I haven't heard much from Netherbird that I can recall, but from what I've heard here, it makes me curious to dig through their back catalog a little.

(2 Tracks, 13:00)

8/10

Tengger Cavalry - Mountain Side (2016)

Originally around twenty minutes long, I have a couple of bonus tracks (yes, on an EP) from these Chinese born (but now New York implants) Mongolian folk-metallers. That's not something you hear every day, which is the reason I'm reviewing it as well. If you've ever checked these guys out on YouTube or social media, you'll see that they use a lot of battles from Chinese films as music videos and the music fits quite well. But why wouldn't it? That being said, Mountain Side is much different than the band's Blood Sacrifice Shaman record released last year. Instead of heavy death metal influenced pieces, we're almost getting something that sounds like a mix between modern metal and traditional Chinese acoustic folk music. There are a lot of outside elements on this record that make it more of an atmopshere and appreciation for traditional Chinese music, though I'm not sure how the country feels about metal these days. I remember watching the documetary Global Metal a while back, and learned that things are not as tolerated over there as they are here. Which is why I'm glad they came to the states to give us a taste of China.

The vocals here almost feel like a mutter, as the guitars wail and the drums carry on a more traditional and less metallic vibe. There are still moments where the electric is plugged in, but you have to respect the fact that they wanted to something a bit different than their previous seven releases. In addition to the main track, we also get an interesting acoustic version as well as an um.... club mix? We also get an instrumental of the track, so let us hope you like it. In addition to that, we have a new recording of “War Horse” in this style, as well as “Krutaya Goya” and an interlude. All of these sort of mix together to form an atmosphere quite unlike any that we've heard from the band before and it sounds quite spiritual in some instances.

There are three bonus tracks as well, like I mentioned. We get a fiery version of “Tengger Cavalry” that features the band in a raw, live setting and sounds completely unfiltered. It might be a bit tough to hear, but Tengger Cavalry have yet to make millions of dollars in which to gain a high quality performance. This is just fine, and it sounds like what you'd expect from one of their shows, which is pretty damn amazing. There is absolutely NO ONE doing this kind of metal, so you'd better get your ears on this EP as soon as you can. Even the two bonus folk jams are worth checking out. They'll give you a little bit of insight as to how such a large ensemble of metal and Chinese mysticism combine to form a sound like none other.

(11 Tracks, 31:00)

7/10

Valyria - Steel Inquisition Single (2016)

Previously known as Winter's Legacy, this Canadian Melodic/Death Power Metal act released an EP back in '14 by the name of Collatus. Now they're releasing a short single to most likely promote their next offering which will be upon us soon enough. First of all, the track starts off rather heavy with absolutely blistering drums and melodies that remind me heavily of Ensiferum or Rhapsody of Fire. There's also a bit of Neoclassicism here, which makes for an elegant, yet surprisingly brutal and slightly modernized piece. Cam Dakus (Bass) is considered the band's lead vocalist, but both guitarists (Andrew Traynor and Jeremy Puffer) use more of a death core approach to vocals, which duels with the clean vocal approach and makes for a rather accessible sound. But where these guys really excel is in structure and atmosphere. As I said, this track reminds me of something like Rhapsody of Fire, Ensiferum or Wintersun, albeit an early approach that will get better with more time and experience. Even so, both the axemen show that they've got the style down and manage a pretty nice solo piece in lieu of all the pomp. It definitely has that “epic melodeath” style sound and you don't need me to tell you that. It's quite promising and much better than I would have expected at first. They've got the chops down and this track works for me – but let's see what else these guys can do. (The Grim Lord)

3/5

Old Forest - Dagian (2016)

The UK's Old Forest are back at it again, with another disc of symphonic and rather folky black metal. This would be their third full-length, showing that the steadfast ambitions of James “Mr. Fog” Fogarty (In The Woods..., Jaldaboath, Ewigkeit and several other awesome bands) still hold up just as well as always. Fogarty handles those crystalline synth nodes, as well as some static and other instances that stretch the work of Old Forest far beyond that of other bands. He also handles the vocals, which don't stray too far from the menacing scowl of which we'd expect, even though the cleans when used are quite pleasant. Beleth plays some rather melodic notes, which seem to bring Dagian an almost mesmerizing feel, compared to the darker atmospheres invoked by some of the band's previous records. With the enchanting folk melodies of “Non” and the whirlwinds of symphonic beauty that have been captured in “Tweoneleoht” there's no doubt in my mind that Dagian might be one of the most pleasant black metal records that you'll hear this year. While tremolos and icy cold riff structures still exist here, there's just so much more to be found within this record and I'd recommend it purely to someone who feels that they're tired of the same old thing when it comes to the black metal sound. While still raw, it feels organic even with the symphonic effects. This is the kind of record that really allows one to sit back and explore the atmosphere, see the worlds by which Fogarty has here imagined and put into song. The four tracks that makeup Dagian are very long, but you want them to be. I want them to be. What's the use in making such a mesmerizing atmospheric release if the songs are forgettable due to not being fully fleshed out? These tracks need time to breathe, and they are definitely given it. Now I know that atmospheric pieces like you'll find placed on the disc's final track “Neaht” might be a little too much for some, but if that's the case, then you're merely looking in the wrong category. I'd be a fool to say that this wasn't an experimental effort and a fool to stand against it. Dagian fully embraces black metal, viking/folk metal and atmospheric music all in the same less than an hour listen – and it does it seamlessly. I regret that I don't have enough time to explore this masterpiece as I would have liked, but you are free to do that when you pick up a copy, turn off the lights and drift off into another world entirely. There are other worlds beyond these, and I daresay that Dagian might just be the gateway to one of them.

(4 Tracks, 48:00)

10/10