Q: Your records are incredibly cohesive throughout, with plenty of motifs and well-thought-out track flow. How do you balance “writing for the song” versus “writing for the album”?

Duran: The composition of the album always starts with a couple of riffs. Once we have a first song structure, we try to clarify the vision we have for the album as a whole. Will it be a single block? Will all the tracks flow into one another? Will it be a “Side A / Side B” format? Will it be a collection of singles? We always aim to explore something we haven’t done yet. Then, we look at the songs themselves. Each track has to stand on its own. We don’t want to have fillers on the album. Once we have the songs, we have to choose an order that works as well. We want to provide contrast and keep the listening experience interesting enough. Sometimes this contrast comes in the tonality of the songs, sometimes in the varying intensities, time signatures, and different layers.
Johan: The most interesting and crucial part for me is turning a collection of riffs into a fully formed song. Writing variations, progressions, and transitions, shaping the structure and musical narrative of each track, it can be pure chaos. It can drive you insane! It often feels like I’m searching for a missing piece of a giant puzzle, and the process can take months. It’s as much intellectual work as it is heartfelt expression. And personally, I love that! Also figuring out the connections between songs, whether it’s a rhythmic or melodic motif, a tempo, etc, it’s very fun. You realise that everything is linked somehow.

Q: For nearly a decade, Stortregn were a melodic black metal band heavily inspired by Dissection! What happened to spur the transition into the melodic blackened proggy tech death band you are now? Was it a natural evolution? Do you see the band drastically evolving again, or do you plan on tinkering with the current style for longer?

Johan: Dissection was one of the first extreme metal bands I listened to when I was younger. I was deeply moved and impressed by the emotional power of their first two albums. That impact led me to co-found the band, in an attempt to reach that same emotional intensity. In hindsight, that era felt like a great learning experience for me. Anyway, we quickly wanted to move away from being seen as a “tribute” band because we felt we had so much more to offer, and we were tired of being boxed into that label. The arrival of Duran, and later Manu, also significantly broadened our musical horizons, since they come from different backgrounds and have diverse musical aspirations. Nowadays, we’re pushing our own limits, and we don’t know where that might take us!
Duran: Believe it or not, I had never listened to Dissection before I joined the band! I can’t claim to have been influenced by them. But we continue to evolve as musicians and have different musical backgrounds, so I think it is safe to say that our style is not set in stone. You might hear bluegrass influences in the future. Who knows?

Q: Franck, you’re a new face in the band, welcome! What has touring with the band been like? In person, you mentioned that Stortregn’s extensive use of high screams was a new hurdle in your vocal career. Were there any adjustments you made to your technique?

Franck: Thanks for the welcome! Lots of things to say. Actually I never toured before and I thought touring would remain a boy’s dream. But it finally happened. So touring as the vocalist of Stortregn, a band I’ve been a fan of for years, opening for Virvum, whose album I’ve listened to so many times, was a unique experience in my life as you can imagine. I was really nervous about being up to the task, and I put a lot of pressure on myself to meet Stortregn’s live performances level. But I felt very well with the two bands, I could express how I felt anytime and they all helped me to relax and have a lot of fun. And I was surprised that my voice held on for the 12 shows!
As for the technique, in my previous and other bands I am more used to use the low voice as the main vocals. So for Stortregn, I had to switch in my head to make the high screams as the main vocals, and to use them as high as I could. It was a challenge because the high screams of the previous singer had this strength that, for me, was so characteristic of Stortregn’s sound. It sounds more black metal than what I have done with my other bands. So I had to train myself a lot to reach a balance between keeping the sound of the band and bringing something new with my voice. The composition and recording of the One Eternal EP really helped me in that way, and the advice and feedback of the members of the band were precious.

Q: Samuel, I know you have a background in jazz drumming, and that’s clear in your playing which is some of the most creative and original I’ve ever heard in metal. Who are some of your major influences, metal or otherwise? 

Samuel: Thanks for this question and the kind words. I definitely love some bands from both music styles metal and jazz, bands like Gorod, Leprous, Opeth, The Bad Plus, and also Jazz pianists like Hiromi, Brad Mehldau, or Tigran Hamasyan. If we talk about drummers, guys like Elvin Jones, Max Roach, Jimmy Cobb, Tony Williams, Bill Stewart, Nate Smith, Stéphane Galland, and in metal music Sebastian Lanser, Baard Kolstad and Kai Hahto. I took some drum lessons with them and they’re part of my musical journey.

Q: Johan and Duran, you three have such complex, interweaving guitar/bass lines and dueling solos that it begs the question: how do you decide who plays which part? Also, do you two have any classical training? Your sound demonstrates a seeming mastery of counterpoint.

Johan: Thanks for the compliment! I’m a professional classical guitarist–I did all my studies in Switzerland and won several competitions back in the day. I’m very active in the classical world, performing recitals internationally and playing as a soloist with orchestras. My classical studies drastically changed the way I approach writing for the band, especially from Emptiness Fills the Void onwards, and that influence continues to shape our sound today.
Duran: I think there are so many possibilities with our formation and we don’t want to limit ourselves to pigeonhole our roles. We have Johan’s classical background which brings the sharpness and the strong compositional cohesion and music theory. Then, Manu and I could switch from guitar to bass / bass to guitar at any time. So sometimes Manu plays the bass like a guitarist and I will play guitar like a bassist, if that makes any sense. We want to take on more than just the traditional double lead-rhythm-bass combo. I think this contributes to and expands our sound. It’s all in the optic of getting the right sound for the right part. Then for the decision of who plays what line, it will depend on the vision of the main composer of the song.

Q: Of course, you are a band from Francophone Switzerland, yet you write lyrics in English except for a few on Impermanence and Finitude. Have you considered writing more songs in French?

Duran: “Nénie” was the first song that we recorded in French, although there might be some obscure early demos somewhere with French lyrics, but I can’t confirm that. Then, in Finitude, we have the title track and “De Inferno Solis” which are  in French as well. Once again, it depends on the vibe of the writer. Romain had very interesting lyrics in French and he delivered them brutally and it worked seamlessly on the track. Why should we limit ourselves to English if we can push an idea in a more personal manner? Then again, it has to sound good with the track. I’m hoping one day to get a track out in Finnish, but it has to be justified with the theme of the song or the story. We’ll see how that will turn out.
Johan: French language and pronunciation adds a lot to the music! It’s so much more brutal and crisp. English, on the other hand, tends to sound more polished and ’round’. It’s cool to be able to use them both to serve your musical purpose.

Q: Do you typically do songwriting sessions in person together? Few bands seem to have as much synergy as you in the studio—and live as I was lucky enough to see. Every piece clicks into place.

Duran: Thanks for the compliment. We just started trying to schedule songwriting sessions, but with each of our timetables it’s almost impossible to find a time and place that works for everyone. Otherwise until now, it was very much Guitar Pro based, tabbing out our ideas, uploading them on a shared cloud drive, modifying others’ ideas, hating other people’s edits and trying to find a compromise somewhere. We’ve had a couple of heated discussions. You can sometimes hear the tension in the compositions but the end result has always justified them. 
Johan: In my experience, in-person writing sessions have never really worked for us. Personally, I need to sit down alone, like a craftsman in his workshop who carefully refines and polishes the material.

Q: With the sad news of Ozzy’s death, Stortregn’s new cover of “Mr. Crowley” hits all the harder. What made you pick that song to cover from his discography? Have you considered covering other artists/songs? It always seems like a great way to give tribute to your influence, and it sounds like you guys had a blast performing the Ozzy cover.

Duran: On a personal level, I am extremely sad that Ozzy has passed on. I mean it was bound to happen, but nobody expected it to happen so suddenly. His music has been so influential and has had such an impact on so many different artists and I am no exception. May his music live on forever and may he rest in peace.
On the subject of our cover, we have been discussing a potential cover of “Mr. Crowley” for years. It fits everything: it’s a dark song, a classic, it has epic riffs and solos, an amazing story behind the whole original album, and it has enough space for us to interpret it in our way. We are very happy with the result and can only hope that Ozzy had the chance to give it a listen and approve it!
There might have been other covers in discussion. Nothing recorded, though….yet!

Q: Do any of you have any personal favorite Stortregn songs/albums?

Duran: The next album is my favorite! I can’t wait to finish the writing process to get it recorded and release it! 
Franck : My personal favorite song to play live is “Through the Dark Gates,” especially at the end of the set–it’s just insane. Now, among songs we didn’t play during the last tour, I always tell the guys I really love “Cold Void” from Finitude. I also love “Timeless Splendor,” “Children of the Obsidian Light,” or “Inner Black Flame.” But still, the next album will obviously be the best.
Johan : The next one, indeed!

Q: If you could tour with any band, who would it be?

Johan : Bands that are on the same wavelength as us, but also know how to party!
Duran: It’s a tough question. We just completed our Canada Takeover tour with Virvum which was an absolute blast. I would tour with them again any day!

Q: What bands were most influential in getting you all into music—and as listeners, how has your taste progressed over the years? 

Duran: The scene has never been as big and varied as it is today. So I can always find something new that scratches an itch I never knew I had! My biggest influences would be Iron Maiden, Judas Priest, Black Sabbath (Ozzy / Dio / Tony Martin), B.B. King, Pantera, Dream Theater, Slayer, early-In Flames, and so on.
Johan : I’m still returning to my old classics sometimes, but the latest Dordeduh and Sühnopfer were amazing. 

Q: Any favorite albums of 2025 so far, or any local or underground bands you want to shout out?

Duran: I have a huge backlog of albums I have to listen to. I think I still have to finish 2019. But shout out to our good friends: Virvum, Burn Down Eden, Conjonctive, Calcined, The Scalar Process, and Skaphos!

Thank you again to Stortregn for the interview and make sure to check out their new EP One Eternal on Bandcamp and wherever else good music is streamable!

Links: Bandcamp | Facebook | Instagram | Metal-Archives Page

The post Interview: Stortregn appeared first on The Progressive Subway.

Style: Black metal, melodic black metal (harsh vocals)
Recommended for fans of: Emperor, Dissection
Country: Ohio, United States
Release date: 20 June 2025

As a ten-year old kid, I first discovered The Hobbit in my elementary school library. Its charm, characters, call to adventure, and perhaps above all, its meticulously crafted fictional world drew me in like no story ever has—at least in the literary realm. That initial enchantment naturally led to The Lord of the Rings, just in time for Peter Jackson’s films to hit theaters as I was finishing the books. I’ve returned to Tolkien’s saga many times since, and still revisit it now and then. As often happens, a love of Middle-earth opened the door to other high (and low) fantasy realms. Does your book have a map of a fictional world in the opening pages? Then I’ll probably check it out at some point.

Pair the allure of fantasy with my innate love of metal, and it’s no surprise that artists like Blind Guardian and Summoning quickly became favorites—bands whose music is conjured for a Tolkien-bred imagination. A few years ago, I was able to add another group to that cabal: Valdrin. But, unlike those who reinterpret familiar stories or put music to an existing lore, Valdrin have created a mythos all their own—a literary world inscribed upon black metal scrolls. I would be doing their work a disservice trying to summarize the hero’s journey of the titular character and his struggle with the malevolent Nex Animus, but suffice it to say: spiritual warfare, collapsing worlds, and existential dread are just the beginning.

Valdrin’s newest chapter, Apex Violator, continues their long-running saga of mythic chaos with a relentless, oppressive energy. While their previous album, Throne of the Lunar Soul, explored moments of triumph and sorrow amidst celestial fallout, Apex Violator is all sinister fury—a bit melodic, a tad fantastical, but pure scraping black metal cloaked in eldritch atmosphere. Scathing riffs wrapped in dissonant arpeggiation (“Ignite the Murder Shrine,” “The Muttering Derelict”), blistering percussion (“Poison Soul Vents”), and demonic, blood-curdling howls (“Veins of Akasha”) make up the bulk of this EP. We’re forgoing variety in favor of overwhelming force, here.

That dark force is made all the more sinister by various synths, keyboards, and choral chants throughout Apex Violator, lending a bit of flavor to the black metal cacophony. These elements are rarely the primary focus—they instead haunt the soundscape and lend an ominous sense to the EP. A standout in this regard is “Black Imperial Smoke,” whose macabre vocal chants can be nothing but cursed hymns echoing from the halls of a shadowy ruin. Additionally, the bridge in “Poison Soul Vents” has been stuck in my head for the past week, in no small part due to the deep, thrumming piano underneath the ominous guitar riff.

Still, I miss the sadness and grandeur that Throne of the Lunar Soul sprinkled around. Apex Violator is fairly one-note by comparison—little if any acoustic pensiveness, triumphant melody, or interludes for a breather to form those peaks and valleys that help create a truly standout album for me. This EP being a chapter dedicated to Nex Animus, I can understand why the atmosphere of the album is pure evil. I can’t help but wonder what pairing it with an emotionally unraveling latter half might do to elevate it, though.

As a standalone listen, Apex Violator may blur together a little, with little in the way of audible contrast. Yet, fans of the dark majesty of Emperor or the seething, melodic dissonance of Dissection will find much to admire here. Valdrin channels the phantasm of those black metal titans through the lens of their grim cosmology—and for the initiated, the fury of Apex Violator is another book of scripture. Map or not.

Recommended tracks: Black Imperial Smoke, Ignite the Murder Shrine
You may also like: Stormkeep, Caladan Brood, Gallowbraid
Final verdict: 7/10

Related links: Bandcamp | Facebook | Instagram | Metal-Archives

Label: Avantgarde Music – Bandcamp | Facebook | Instagram | Website | Metal-Archives

Valdrin is:
– Colton Deem (guitars)
– Carter Hicks (vocals, guitars, keyboards)
– James Lewis (bass)
– Ryan Maurmeier (drums)

The post Review: Valdrin – Apex Violator appeared first on The Progressive Subway.

Style: Melodic black metal, folk metal, dark folk (Mixed vocals)
Recommended for fans of: Agalloch, Panopticon, Ulver, Saor
Country: Utah, United States
Release date: 17 September 2010

The Cascadian black metal movement birthed many artists who reflect on nature through a Romantic framework. Agalloch traverse snowy landscapes, looking on at modern society through sorrowful eyes and a yearning for ancient mythologies; Wolves in the Throne Room bring these mythologies to life through incantation and reflective rituals; and Ash Borer cling on to the natural world as they anticipate our impending doom. Being from Salt Lake City, Utah, multi-instrumentalist Jake Rogers’ Gallowbraid project is geographically removed from the Cascadian black metal scene, but his heart is planted firmly in the scene’s aesthetics, style, and ideals. Singular opus Ashen Eidolon evokes the same heartbreak as Agalloch, taps into the same desire to ‘just become one with the moss’ as WITTR, and ruminates on the same fears of death as Ash Borer, all in a concise and urgent folk/black metal package.

Ashen Eidolon follows in the footsteps of Agalloch‘s landmark debut, Pale Folklore: mournful arpeggiation meets mid-paced crunchy guitars, melodic tremolos, and a raspy, world-weary vocal delivery. Intertwining the gravelly and heavy sensibilities are much lighter elements, like acoustic guitar, flute, and clean group vocals. The quieter moments carved out by folk instruments not only work as contrast against the black metal ideas, but are a force unto their own, acting as a springboard for explosive climaxes on the two extended tracks and leading along the pensive “Autumn” interludes. Compositions are nonlinear in structure, stringing along a series of contemplations that build into a larger narrative. Filtered through the lens of a golden Autumn forest, a Gothic Romanticism seeps through the album’s painful recollections of loved ones past (“Ashen Eidolon”) and the unease of coming to terms with one’s own death (“Oak and Aspen”).

Though undoubtedly imposing in scope, Ashen Eidolon dials back the cinematic approach of its predecessors in exchange for additional heft in its compositions. Each piece exudes a weighty kineticism through powerful, forward drum work and an uptempo punch; the end result is a masterful balance of plaintive heartbreak and fervent chthonic energy. “Ashen Eidolon” in particular opens with a roiling and hypnotic wall of distorted guitars, tearing through flaxen canopy while remaining grounded by wistful melodic accents. “Oak and Aspen” features soaring arpeggios, chunky drum grooves, and stunning walls of black metal trems, but leans into more melancholy ideas in its climax: the instrumental intensity is dialed back and room is given for Rogers to proclaim a quiet river as his final resting place among the aspen.

The use of folk instrumentation contributes greatly to Ashen Eidolon‘s grandeur, both in the longer tracks and the palate-cleansing acoustic pieces. “Autumn I” bridges the title track and “Oak and Aspen”, offering space to sit and process the opener’s intensity through gentle guitar work, dirging group vocals, and lingering flutes. “Autumn II” acts as an epilogue, its mournful guitars intertwining with warm flutes that hint at the sense of closure brought by the narrator’s death at the end of “Oak and Aspen”. However, Ashen Eidolon‘s most effective use of folk ideas comes about two-thirds through the title track, as ferocious tremolos rip and roar through the forest until they’re given pause by fast-paced, staccato acoustic strumming. The electric guitars and drums respond in kind, mimicking the acoustics and soaring high above the trees in ascendant splendor before gently gliding back into the woods on the backs of doomy chords and haunting clean vocals.

Adorning these arboreal peaks and valleys are reflections on the elegance of Autumn and contemplations on the nature of death. The title track takes a stream-of-consciousness approach to its lyricism, lines like ‘Gold and ochre / behold the tapestry of the Fall / There is a beauty, a certain subtle grandeur / In the withering that consumes us all’ ruminate on the ephemeral qualities of life through the lens of changing seasons. “Oak and Aspen”, on the other hand, is more story-driven, Rogers at first frustrated by his grief but ultimately accepting and even embracing it by the track’s end. Unable to define his sorrow as he watches the seasons pass, he contemplates how the trees that surround him experience death: ‘Do the oaks feel this distant pain? Can the pines offer me relief? / Have the aspens wept with the rain? Does the forest know this untouchable grief?’ The track concludes by finding solace in how death and change are are fundamental connectors of all things and that, even through heartache and suffering, not all is lost: ‘Through words of wind and verse of falling leaves / Its song is one of sorrow and days long past / The time is gone but the memories always last.’

Ashen Eidolon is a testament to death and the myriad ways it manifests as an agent of change. Through high-energy songwriting, evocative Romantic imagery, and earthen folk instrumentation, Rogers reminds us that there is beauty to be found in small moments, in nature’s inevitable decay, and in how our lives and bodies continue on in ways anew after our passing. The added heaviness in Gallowbraid‘s approach gives extra impact to its sentiments and establishes a stunning contrast for both its quieter moments and its climaxes. Even in the most barren of deserts, the spirit of black metal and the misty Cascades live on.

Recommended tracks: Ashen Eidolon, Oak and Aspen, Autumn I
You may also like: Fellwarden, Thrawsunblat, Cân Bardd

Related links: Bandcamp | Spotify | Facebook | Metal-Archives page

Label: Northern Silence Productions – Bandcamp | Facebook

Gallowbraid is:
– Jake Rogers (everything)

The post Lost in Time: Gallowbraid – Ashen Eidolon appeared first on The Progressive Subway.

Painting by Ferdinand Knab
Logo by Ghorn
Layout by Foudre Noire

Style: Hellenic Black Metal, Melodic Black Metal, Heavy Metal (harsh vocals)
Recommended for fans of: Rotting Christ, Necromantia, Varathron
Release date: 17 April 2025

Over the past decade or so, Phil Tougas has become a household name within the broader underground metal scene, lending his myriad of talents to groups across a broad spectrum of styles. Chthe’ilist proved Tougas’ songwriting aptitude; Atramentus and Worm proved his ability to summon compelling atmosphere; and First Fragment launched him handily into the pantheon of extreme shredders. One would think having your nimble fingers stuck in so many pots would scarcely leave time for excursions, yet here we are. Tougas’ latest labor of love appears in the form of Zeicrydeus, in which our multifaceted shredder combines all of his previously mentioned talents with a detour into the realm of Hellenic black metal, though with a few trademark Tougas Twists.

Zeicrydeus is a solo project, with Tougas handling the manifold duties of four string lead bass, vocals, multi-timbral synthesizer, six string guitars, timpani, and drum programming. There are session live drums credited to Chakral (Ascended Dead, VoidCeremony), though I’m not exactly certain where they begin and the programmed drums end. Regardless, La Grande Heresie is a bold (and brash) statement of Tougas’ love for the Hellenic black metal scene, drawing direct inspiration from early Rotting Christ, Necromantia, and Varathron, and infusing this sound with a roaring heavy metal spirit. “Ten Thousand Spears Atop The Bleeding Mountains” fittingly kicks things off with a lyrical homage to Running Wild’s Under Jolly Roger, barreling into an instantly recognizable triumphant Tougas riff and showcasing our first Tougas Twist: a metric shitload of pinch harmonics intertwined right in the middle of fearsome finger acrobatics. Once the high-octane display has run its course, we are introduced to the secondary style that comprises La Grande Heresie: swaggering Manowar-esque USPM riff-craft. The combination of melody driven black metal and scrappy DIY heavy metal aesthetic works wonderfully as a foundational sound whereby Tougas springboards his idiosyncratic stylings.

The second Tougas Twist is the dramatic Summoning-esque atmosphere that is woven into the core of La Grande Heresie. The earlier mentioned multi-timbral synthesizer is put to near constant use, enveloping the sound in an occult haze. Tougas’ melodic phrases coil around themselves, slightly overstaying their welcome on occasion, though theatrical timpani hits help the experience along by accentuating the rhythmic flow like landmarks for the wandering melophile. Rattling chains and the sharpening of blades can be heard periodically accompanying particularly dramatic moments, as if Tougas is quite literally leading a triumphant charge into battle, warhorn replaced by shredding bass solo. Tougas’ vocal performance is similarly arcane, leaning mostly towards a midrange black metal snarl, but occasionally branching out into grunts, yells, and an odd purring technique that is as menacing as it is captivating. The esoteric atmosphere is constantly at odds with the modern technique of Tougas’ playing, one constantly overtaking the other, mirroring the rise and fall of empires. 

As if the varied instrumentation, intense performances, and devouring atmosphere wasn’t already enough to set Zeicrydeus apart, the biggest and best Tougas Twist has been saved for last: formally titled bass solos. La Grande Heresie is unique in that it features bass solos in the stead of guitar solos, and even more unique in that these solos are quite literally christened. From “THE FOUR PRONGED SERPENT PHALANX” featured on “Ten Thousand Spears Atop The Bleeding Mountains” to “HÉRÉSIE TOTALE” and “LA FLAMME DES REBELLES” from “Sous L’Ombre Éternelle Des Vestiges D’Heghemnon”, Tougas’ dedication to crafting a dramatic and entertaining experience seeps all the way into meta territory. Lyrically, the storytelling expands on lore already told in other Tougas projects (Chthe’ilist, Atramentus), adding even further to the meta narrative. La Grande Heresie benefits greatly from Tougas’ imaginative presentation and immense bass talent, though an argument could be made that the everpresent dexterousness becomes slightly masturbatory after a while. The final climax of penultimate track “Godsteel (Blood of the Sun)” allows itself one final indulgence, breaking La Grande Heresie’s own rule and reveling in an epic three-part dueling guitar and bass solo, titled “AIR” and “WATER”, “FIRE” and “ICE”, and “EARTH” and “SKY”. Truly, Tougas’ vision and conceit pays off in satisfying conclusion during this battle, and the listener is left with only howling winds and the reflective melody of the self-titled closing interlude with which to climb down from La Grande Heresie’s peak.

I’ll be the first to admit that Hellenic black metal is a style that has not historically resonated with my own personal tastes outside of a couple of heavy hitters (Macabre Omen, Varathron), so it is always a welcome surprise when an album comes along to challenge my bias. Compositionally, La Grande Heresie is a personally authentic take on the connection between the heavy metal and Hellenic black metal scenes, and while each Tougas Twist is an emotive addition to these styles, they can also become slightly distracting, never quite allowing the listener to fully immerse themselves within the archaic spirit of either genre. Even after a dozen or so listens, I’m still not sure whether I enjoy La Grande Heresie as a Hellenic black metal album proper or, rather, as just another Tougas offering. Nevertheless, Zeicrydeus certainly succeeds in setting itself apart within a long-standing scene, and Tougas’ brash (and bold) flair solidifies La Grande Heresie as a memorable standout of 2025.

Recommended tracks: Ten Thousand Spears Atop The Bleeding Mountains, Godsteel (Blood of the Third Son)
You may also like: First Fragment, Malokarpatan, Chthe’ilist, Thy Darkened Shade
Final verdict: 7.5/10

Related links: Bandcamp | Metal-Archives

Label: Productions TSO – The Stygian Oath – Bandcamp | Facebook | Official Website

Zeicrydeus is:
– Phillipe Tougas (vocals, multi-timbral synthesizer, four string lead bass, six string guitars, timpani, drum programming)
With guests:
– Chakral – Live session drums

The post Review: Zeicrydeus – La Grande Heresie appeared first on The Progressive Subway.

Album art by: Aria Fawn

Style: Progressive metal, melodic death/black metal (mixed vocals)
Recommended for fans of: Dark Tranquillity, Borknagar, Ihsahn (self titled), late 00s melodeath
Country: Minnesota, United States
Release date: 30 August 2024

Categorizing music beyond the basic descriptions is often frowned upon within the prog metal community: categorization creates expectation, which can lead one astray when encountering a band who tries to break the mold. I am someone who loves to categorize¹, though, for it gives me a language to discuss and absorb new music with. Sometimes however, it does indeed lead me astray, and today’s subject of review is one such case. Amiensus is back with the second installment of their double album Reclamation. My colleague Zach reviewed the first part, but somehow part two got lost in the reviewing queue and we’re only getting to it now, me being the one to dissect it. And good God, it took me a while to figure out what was going on.

Amiensus was advertised to me as progressive black metal, a genre which I typically associate with bands who prioritize emotion and/or atmosphere (think of Enslaved, Xanthochroid, Dordeduh, etc). After a while though, it dawned on me that though Reclamation Pt. II is definitely blackened, its guitarwork focused way more on inducing neck cramps than on evoking gothic castles in a snowstorm, leading me to think of the record as prog death primarily, and—given that Amiensus is generally melodic and uses a mixed vocals approach—my mind immediately went to bands like Ne Obliviscaris, Opeth, and Enslaved (given the black metal elements) for comparison rather than, say, tech death flirting bands like Death, Obscura, or Gorguts. Turns out though, Amiensus doesn’t quite fit with any of those bands either. Let me explain.

Whereas contemporary progressive (melodic) death metal acts like An Abstract Illusion, Ne Obliviscaris, or Disillusion tend to go for extensive, indulgent compositions focusing on grand, sweeping emotions to provide for adults what “my girlfriend left me and no one can understand my REAL and DEEP pain” type emo/metalcore bands provide for teenagers², Amiensus keeps their compositions tight and the music relatively upbeat, focusing primarily on head-bangable riffs and sounding badass. While their music is undoubtedly serious and cinematic, the emotions aren’t nearly as heavy as their contemporaries’. Amiensus is a metal band first and foremost, and their progressive aspects are used in service of that, coming in the form of crazy transitions, off-kilter rhythms, tempo changes, and extra dynamic, densely packed songwriting. In that regard, In Vain is probably the closest comparison: both bands take regular melodeath as a basis and amp up the complexity and technicality to become prog, and given that Amiensus also adds in black metal and Viking metal elements, which—in tandem with the cinematic aspect—bring about Borknagar comparisons as well.

As a metal band, Amiensus absolutely rules, showing an incredible acumen for riffage. Whether it’s the hard rocking main riff of opener “Sólfarið”, the machine gun fire assault of “Leprosarium”, the epic meloblack tremolo picking of “The Distance”, or any of the Gothenburg-style lead harmonies that permeate basically every song, Reclamation Pt. II barrages you with one quality riff after another. And that’s not all: Chris Piette’s ferocious work behind the kit elevates the guitarwork to even greater heights. His every hit is in sync with the complex guitar patterns, giving extra punch to the lower end, and his many mini fills provide micro transitions which adds to the dynamic feel of the music. The entire album is a walking highlight reel for the man, but “Leprosarium” in particular is a great sample track for his talents. On vocals, James Benson’s forceful harshes tear through the space with charisma, evoking a prime Mikael Stanne (Dark Tranquillity) in his delivery, and Alec Rozsa does a monstrous deeper, guttural growl. Benson also does the occasional clean vocals and has a lovely, mystic timbre similar to Lars Nedland (Borknagar). 

Speaking of Nedland, the man actually features as a guest singer on “The Distance”, a song which takes a step back from the record’s usual violent approach by slowing down the tempo and focusing on atmosphere. Programmed strings and hypnotic guitar chords act as the aural equivalent of a cosy blanket, resulting in plenty of room for Nedland to take center stage and work his magic. On one hand, the track is a bit too reliant on the guest singer for my liking, and I would have liked to hear Benson’s cleans duet with Nedland’s, but it’s hard to complain when the result is as magical as this.

Unfortunately for Amiensus though, I am Dutch, so complaining is in my nature and will thus find its way through the narrow cracks in Reclamation Pt. II. First off, the mastering is slightly brickwalled. On the bright side, this gives the guitars and drums a lot of oomph, but the loudness of it all does become fatiguing to listen to after a while, especially so when listening to Reclamation Pt. II right after Pt. I. When the band pulls all the stops (which is often), the wall of sound that the guitars and drums produce buries the bass completely, and even the harsh vocals can struggle to find a spot in the mix at times, let alone Benson’s clean vocals. This plays a large part in my second complaint, which is that the songs tend to devolve in nonstop riff assaults and lack clear hooks. If riffs are enough to hook you, you likely won’t have a problem with Reclamation Pt. II, but otherwise, the vocal melodies struggle to remain above the surface. Amiensus also doesn’t repeat sections a whole lot, so it can be hard to find something to latch onto.

I always find it fascinating how expectations can shape how we interact with art. My classification-seeking brain struggled to place Reclamation Pt. II, starting from thinking of the record as prog black, later moving onto prog death, and eventually realizing it was both but not quite in the way I was used to from either style. Though it has some issues with the production being too brickwalled and a relative lack of clear hooks, the level of the performances and near endless supply of amazing riffs makes Reclamation Pt. II a definite winner.

Recommended tracks: Sólfarið, The Distance, Leprosarium
You may also like: In Vain, Hail Spirit Noir, An Abstract Illusion
Final verdict: 7.5/10

1. Also known as being autistic ︎
2. This is not a diss, mind you, I love all of those bands for that exact reason. ︎

Related links: Bandcamp | Spotify | Facebook | Instagram | Metal-Archives page

Label: M-Theory Audio – Facebook | Official Website

Amiensus is:
– James Benson (clean + harsh vocals, guitars, keyboards)
– Alec Rozsa (guitars, harsh vocals, keyboards)
– Aaron McKinney (guitars, vocals)
– Kelsey Roe (guitars, vocals)
– Todd Farnham (bass)
– Chris Piette (drums)

With guest(s):
– Lars Nedland (clean vocals, track 5)

The post Missed Album Review: Amiensus – Reclamation Pt. II appeared first on The Progressive Subway.

Style: Melodic Black Metal, Folk Metal (Mixed vocals, mostly harsh)
Recommended for fans of: Dissection, Windir, Ulver, Immortal
Country: Switzerland
Release date: 29 November 2024

When you write album reviews, there is a quiet ledger in your brain that keeps track of everything you’ve listened to in preparation for the inevitable slew of end-of-year writeups. At the same time, there is trouble deciding exactly when to start these writeups: too late and you’re woefully unprepared, burning yourself out on tens of albums you didn’t check out but really should have; too early and your list will be undercooked with no room to include things that squeak their way in at the last minute. Having constructed most of my list in October, imagine my hubris when I stumbled upon Eisenwald’s marketing for Ungfell’s latest release, De Ghörnt: with an ominously gorgeous album cover and the promise of black metal with an “epic narrative” revolving around a Swiss folk tale, I was cautiously hopeful for a last-minute upset to my top albums list. Does De Ghörnt make the cut, or will Ungfell be left to fend for themselves against the cover’s goat creature?

Brimming with anthemic energy and grounded by an earthly finesse, Ungfell offers an eclectic take on black metal with many moving parts that waver between folk metal, meloblack, and second wave, on occasion even dipping their toes into NWOBHM riffage (“De Fährmaa,” “De Geischt vom Märjelesee”) and Windir-esque keyboard breaks (“Sturmglockä”, “S Alpaglüeh”). Black metal prides itself on a focus on atmosphere and instilling certain emotions in the listener, but Ungfell‘s approach chooses instead to subvert within reason the listener’s expectations at any turn they can, whether it be a surreal folk breakdown featuring full symphonics (“De Geischt vom Märjelesee”), three bass solos (“Rollibock”), or seamless transitions between Havukruunu-style meloblack and Immortal-tinged second wave (“S Alpaglüeh”). These dynamics are coalesced by a vivid retelling of an old folktale about a hunter who travels up a mountain and encounters the Rollibock, a goat-like creature who fiercely protects the glacier which stands at its peak.

Despite the potential for scattershot songwriting given the amount of ideas being juggled, Ungfell composes with acumen: opener “S Alpeglüeh” confidently thrashes about with fervor, offering quirky synth breaks in its first section that are repeated in a way that almost feels like second nature among the blistering tremolo winds. Moreover, these folkier sections are delivered in a tasteful way that doesn’t rob the track of its visceral momentum which it carries from start to finish. This is not to say that De Ghörnt is an unrelenting assault, though: following track “D Pracht vom Eggishorn” features a gorgeous folky interlude that offers time to rest and contemplate before soaring into the stratosphere with a gorgeous melodic solo; “Im Ruusch” and “De Geischt vom Märjelesee” follow suit, offering a sense of stillness through folk motifs interspersed with ferocious blast beats.

De Ghörnt is at its best when melodic high-energy ideas are explored; titular track “Rollibock (De Ghörnt vom Gletscher)” stands out as a highlight in this regard, opening with interplay between a fierce meloblack riff and gentle keyboard atmospherics. The piece ferociously tumbles around itself through its remainder, utilizing a bevy of drum patterns to create the feeling of constant motion across its runtime, making room for dire folk sections, plenty of aggressive riffage, and a veritable avalanche of bass solos. However, when eschewing traditional black metal atmospherics for melody-focused songwriting, in-your-face energy has to be matched with lower-intensity moments at risk of making the music feel, ironically, one-note and bland. A vast majority of the time, De Ghörnt’s quieter folky sections do a great job of exploring more subdued spaces, but “D Pracht Vom Eggishorn,” for example, attempts to do this with more “traditional” black metal sections that end up feeling utilitarian in nature. These moments serve to bridge two ideas of interest together without offering a lot on their own, coming across moreso as a necessary evil for the sake of cohesive composition instead of as a point of engagement. However, it’s hardly reasonable to fault Ungfell too strongly for these momentary lapses in interest when De Ghörnt on the whole delivers such personality, style, and excitement.

With all that said, does De Ghörnt make it to my end-of-year list? At the end of the day, it is a compelling black metal opus that displays Ungfell’s capacity as excellent songwriters, powering through ambitious tracks like it’s nothing and (for the most part) balancing them spectacularly against quieter moments to offer a full sense of dynamism across its runtime. With that, I can say De Ghörnt without a doubt earns a place among the best black metal albums of the year, offering plenty of nourishment to hold me over through the darker and moodier months of Fall and Winter. Its ascension to the top of my list initially came as a surprise, but after fully digesting its harrowing trek into the alps, its placement should frankly be a wonder to no one.

Recommended tracks: Rollibock (De Ghörnt vom Glestscher), Im Ruusch, De Fährmaa, S Alpeglüeh
You may also like: Havukruunu, Thrawsunblat, Hyperion
Final verdict: 8.5/10

Related links: Bandcamp | Spotify | Facebook | Metal-Archives page

Label: Eisenwald – Bandcamp | Facebook | Official Website

Ungfell is:
– Menetekel (vocals, guitars, bass, keyboards)
– Vâlant (drums, vocals)

The post Review: Ungfell – De Ghörnt appeared first on The Progressive Subway.

Style: melodic death metal, melodic black metal (mixed vocals)
Recommended for fans of: Wintersun, Brymir, Inferi, Æther Realm
Country: Canada
Release date: 19 July 2024

Just over a year ago, I had the pleasure of reviewing Atavistia’s album Cosmic Warfare, and I heaped on joke after joke about how these guys are trying to fund their next sauna with how closely they followed in the footsteps of Wintersun; in the end, I made the bold claim that Cosmic Warfare was better than Time II could hope to be if only because it existed. But Wintersun somehow have an actual release date in a month’s time for the damn thing (only twelve years late, but who’s counting?), and pretty soon we’ll see if my audacious jesting will hold up. That Atavistia need to step out of the Finns’ shadow a bit more to make a name for themselves with an imminent Time II, though, is clear. 

Still melodeath/black and still freaking epic, Atavistia have decided to focus on their extreme influences this time around, crafting an all together heftier affair on EP Inane Ducam. After the kitschy dungeon synth intro of “Inane Ducam,” blast beats rip through the speaker as “Timeless Despair” unfurls in a bombastic manner, immediately the band’s heaviest material to date. Atavistia still achieve their wintry-cum-spacey aesthetic but now darker, similar to Inferi’s magnum opus Revenant with Atavistia’s own Mattias Sippola’s harsh vocals growing a lot in skill and range, his booming growls beastly in choruses and the Sam Schneider-esque (Inferi) shrieks in verses still fierce and biting. His lyrics are also plain fun, a cheesy fantasy/sci-fi mix that are nothing if not epic: “In the darkest depths of cosmic space / A supernova’s core ignites the blaze / Ecstatic fire, radiant and fierce / I feel the power that which shall / Pierce me.” They’re silly, but that’s a strength in this style—you can’t take yourself too seriously and pull off something this unabashedly badass and entertaining. Inane Ducam is not the deepest nor most rewarding musical experience you’ll have this year, but it’s so easy to spin on repeat and certainly doesn’t depreciate in value.

Handled by the maestro Jens Bogren, the mastering on the project is its biggest drawback. By emphasizing the heavier side of the band, the blasting drums and guitar chugs drown out the ornamented layers of keyboards and synthestra, lessening the overall effect of both the most triumphant and more subtle parts of Atavistia’s sound. In chasing the more extreme aesthetic, I also miss the humongous clean choruses which are used far more sparingly this time around, and the reliance on chuggier riffs—including a legitimate breakdown in “Timeless Despair”—loses the intricacy that the band are capable of composing with. 

Thankfully, the compositions are still grand and sweeping, usually climaxing with solos that are as melodic and light as before. The solos and guitar leads truly should be utilized more because they’re the highlight every time, particularly in “Unattained Creation” whose second half is comprised of increasingly shreddy solos. These sections don’t sacrifice the heaviness but are a better mixture of the new sound and the melodicism of previous releases. Every band member is incredibly skilled, yet they’re depressingly drowned out by the drums.

I am ecstatic that Atavistia are seeking to expand their sound, the mix of Wintersun and Inferi refreshingly new. Though still with ample room to grow, Atavistia are making the right moves to change up the formula and stay relevant with new Wintersun just on the horizon. I hope they continue to refine this new style on their next LP because it will take them to new heights; it was time ii grow for Atavistia, and they’re showing they’ll rise to the occasion.

Recommended tracks: Timeless Despair, Unattained Creation
You may also like: Suotana, Xanthochroid
Final verdict: 7.5/10

Related links: Bandcamp | Spotify | Official Website | Facebook | Instagram | Metal-Archives page

Label: Blood Blast Distribution – Facebook | Official Website

Atavistia is:
Mattias Sippola – Vocals & Guitar
Maximilian Sepulveda -Drums
Elia Baghbaniyan – Guitar
Spencer Budworth – Bass & Vocals

The post Review: Atavistia – Inane Ducam appeared first on The Progressive Subway.

Style: progressive-ish black metal (harsh vocals)
Recommended for fans of: Enslaved, Dissection, FromSofware-themed metal
Country: Ohio, United States
Release date: 21 July 2024

Video games are in a bit of a dire state right now. I’m aware this is a music blog, but I rarely get to air my feelings out about these kinds of things to anyone who’s not my unwilling girlfriend or my even-less-willing regular friends. In the world of half-finished, open-world action games with tacked on RPG and crafting mechanics, Elden Ring stands supreme. FromSoftware has under-promised and over-delivered on just about every possible front, and with the expansion (which may as well be a second game) just on the horizon, I figure it would be topical to review a band who are as in love with FromSoft’s masterpiece as I am.

Ogasawara is the one-man project of audio engineer Luke Sackenheim, best known for working on Valdrin’s last two albums. And like the fellow Cinnci black metal dorks, Ogasawara don’t stray that far from that core sound. All the bells, whistles, and synthesized orchestras of high-fantasy flavored black metal are here with a darkly beautiful twist. This album follows the storyline of Ranni the Witch, a major character within the world of Elden Ring, starting with her quest to steal the rune of ‘Destined Death’.

The opener is where Ogasawara gets to show off their sound, a mix of old school Dissection melodies and the occasional prog-isms of acoustic breaks and synths. ‘Empyrean Flesh’ floats along with a haunting piano line befitting of Ranni’s majesty, and ‘Stagnant Constellations’ ups the tempo just to make sure you weren’t resting at a Site of Grace for too long. At an incredibly lean thirty-five minutes, there is little room for fat or filler on The Age of Stars, yet I can’t help but wish it were a bit longer to convey the epic scale of Ranni’s in-game questline.

Don’t get me wrong, what Ogasawara does here is incredibly well done, and it all leads into the explosive, nine-minute title track at The Age of Stars’ end. But I found myself replaying the first two and last song more than anything else. Some uniqueness gets lost on ‘Stagnent’ and ‘Follow the River’ that sees Ogasawara devolve into a standard meloblack band, which he so clearly has the capacity to avoid. ‘Empyrean Flesh’ is especially masterfully composed, with a riff that harkens back to Dissection’s ‘Where Dead Angels Lie’, a perfect homage for our subject matter.

That being said, these are minor weak points. Ogasawara fall into a few of the one-man band pitfalls, such as similar sounding songs and some less than inventive drumming. But for a debut, its exceptionally well crafted. Sackenheim really shows off his audio engineering talent here, as from a production standpoint, the album sounds incredible. The guitar tone combines just enough black metal rawness with polish, and the mix is incredibly clear. I would’ve preferred a louder bass, but I know that’s asking for a lot in black metal. 

That’s truly the worst I can say about Ogasawara: it’s a creative and incredibly enjoyable debut, but its short runtime and lackluster song or two hold it back from being something truly amazing. There’s some expert black metal riff-writing here, enough to cut through all the other standard fantasy-themed meloblack bands, and just a pinch of prog to keep things exciting.  Even if you aren’t an Elden Ring superfan like I am, I believe this is enjoyable for those who like black metal in general; however, if you’re going to be up all weekend playing Shadow of the Erdtree, make this your soundtrack.

Recommended tracks: Destined Death, Empyrean Flesh, The Age of Stars
You may also like: Valdrin
Final verdict: 7/10

Related links: Bandcamp | Metal-Archives page

Label: Indepedent

Ogasawara is:
– Luke Sackenheim (everything)

The post Review: Ogasawara – The Age of Stars appeared first on The Progressive Subway.

Style: Atmospheric Black Metal, Melodic Black Metal (mixed vocals, mostly harsh)
Recommended for fans of: Early Ulver, Uada, Later Agalloch, Spectral Wound
Country: Ukraine
Release date: 23 February 2024

I am famous for being egregiously late to consuming movies and TV shows. Just a few weeks ago, I finally decided to watch The Wicker Man (the 1970s Christopher Lee one, not the Nicholas Cage one, but that will come soon enough), which introduced me to the genre of folk horror. There is something so enticing and disturbing in its normality: there are few special effects, no beings borne from curves and angles not native to this plane, just people following the logical conclusion of a string of tragedies and misfortunes. There is fear in the knowledge that these were once regular people who have been driven to atrocities by their circumstances.

Black metal artists are no stranger to folk horror inspiration, whether it be Agalloch’s The White EP or Raphael Weinroth-Browne side project The Visit’s Through Darkness Into Light. Inspired by Dark Ages folk horror, They Came From Visions sit comfortably between atmospheric black metal and melodic black metal: they add touches of melodicism to an atmospheric base and package it into varied tracks that occasionally veer into dissonance. While The Twilight Robes is no vast deviation from the debut Cloak of Darkness, Dagger of Night, the production has been appreciably augmented and the songwriting has also seen improvement, showing that They Came From Visions are talented at creating memorable moments from music that is typically designed to be textural. Very rarely does a black metal riff qualify as an earworm, but the riffs on “Equinox Ablaze,” “Burning Eyes, Blackened Claws,” and “Twilight Robes” border on infectiousness while refusing to compromise on ominous atmosphere.

Despite the all-around improvement to the sound, what truly gives The Twilight Robes status as a conceptually complete and immersive black metal album is the full embrace of folk horror in the lyrical content. Across its runtime, a series of vignettes paint a world as it is overcome by misery and darkness caused by figures known as The Twilight Robes. In the beginning moments, the desperation of this world’s inhabitants reveals itself and by the end, the entire world is enveloped in shadows and anguish, shown through characters who are not bad at their core but are strong-armed into capitulation by the grim and dire world they inhabit. For example, “Equinox Ablaze” tells the story of a village that burns citizens alive to try and appease their harvest gods, Wicker Man-style, later being consumed by shame and regret for their actions, and “Burning Eyes, Blackened Claws” describes a person who encounters a werewolf and is enraptured with temptation to become one themselves, despite werewolves’ reputation as “an ancient horror unleashed upon the world”. Across these songs, you can feel the fear and desperation in these characters, making for a convincing horror experience.

There are moments where even the choice of timbre in the instruments complements the narrative: “Burning Eyes, Blackened Claws” centers around a uniquely high-pitched riff that can only be described as “howling”, remarkably fitting for a song about turning into a werewolf; on “The Sign of Damnation,” the narrator becomes engulfed in anguish and madness, reflected in the instrumentation by the introduction of dissonance and bone-chilling screams halfway through the track; and the main character of “Petrified Immortality” gives themselves away to lethargy and stillness as their body is turned to stone during one of the coldest and gloomiest riffs on the album, as if the riff itself is calcifying. They Came From Visions have a crystal clear idea of the world they want to create and they do not miss a single opportunity to articulate their no-pun-intended “vision”, manifested in a nearly flawless marriage of lyricism and instrumentation.

I mention nearly flawless here because, unfortunately, there are elements of The Twilight Robes that detract from its awe-inspiring and terrifying beauty. Though the production has improved from the debut, the drums could benefit from being slightly higher in the mix, as there are a few instances where I have to really focus to hear the drums well. Moreover, “The Blissful Defeat” introduces a slight slump and loss in momentum: it gets the unfortunate privilege of following up the absolutely crushing assault of “Burning Eyes, Blackened Claws” and has the weakest connection thematically to the folk horror aesthetic. It is by no means a bad song, though, and the cohesive and varied song structures prevent even the weaker tracks on The Twilight Robes from slipping into monotony.

They Came From Visions have set an effigy ablaze on The Twilight Robes, demanding the attention of those who can bear to observe its twisted branches. Combining folk horror lyricism with chilling and thematically appropriate instrumentation, the series of vignettes presented on The Twilight Robes paint a picture of what there is to be afraid of – not what is in the darkest corners of space or deep in the forest, but what emerges from our most desperate selves.

Recommended tracks: Burning Eyes Blackened Claws, Equinox Ablaze, Twilight Robes
You may also like: Stormkeep, Valdrin, Ars Moriendi, Winterhorde
Final verdict: 8/10

Related links: Bandcamp | Spotify | Facebook | Instagram | RateYourMusic page | Metal-Archives page

Label: Eisenwald – Bandcamp | Facebook | Official Website

They Came From Visions is:
– Voice of Misery (vocals)
– Voice of the Deep (bass)
– Voice of Gloom (guitars, drums)

The post Review: They Came From Visions – The Twilight Robes appeared first on The Progressive Subway.

Genres: melodic black metal, symphonic black metal (mixed vocals)
Recommended for fans of: Emperor, Dissection
Country: Ohio, United States
Release date: 24 November, 2023

Andy is wrong about many things, but he is especially wrong about one thing in particular. Black metal is not at its peak when it’s dissonant, noisy, and invoking “the sublime” or whatever. Black metal is at its peak when it makes me feel like I’m a Black Rider, crossing from Minas Morgul into the Shire in search of the One Ring. Riffs that evoke the feeling of being a Witcher hunting for the next monster to slay. An atmosphere that transports me from my apartment couch to the Lands Between in the middle of Godfrey’s boss fight. Black metal has, and always will be, for the nerds.

This year’s Night Crowned had the title of best nerd black metal on lock, and while they still put up a valiant effort, there was a bigger fish on the horizon. Valdrin waited in their towering, evil lair, scheming and concocting their newest alchemized abomination to unleash upon the world. Hailing from only two hours away in the kingdom of Cincinnati, these dark lords of the riff and synth decided to make their mark on my AOTY list right when I was at my most vulnerable.

Valdrin play a very easily described style of black metal. If you’ve heard Stormkeep, then you can safely imagine how our black metal champions of the month sound. However, Valdrin’s sound lies much more on the less whimsical side of things. There are prevalent synths, plentiful riffs, and lyrics that all evoke the atmosphere of being the dark lord of this world, unleashing armies of eldritch abominations across the land.

Like the plodding steps of an Oliphaunt, ‘Neverafter’’s first riff crashes through the quiet, synth-y intro, setting the stage for our long journey ahead. The song moves with furious speed, accentuated by Carter Hicks’s rasps of necromancy and the afterlife. It’s at the song’s end where I began to realize why this activated my neurons so much. Valdrin are not afraid to have a little fun with their black metal. Is the short-spoken word section cheesy as hell? Yes, but it adds to the album’s hokey, in a good way, nature.

See, if less competent musicians were at the helm of this album, it would be a messy storm of cliches. However, this album moves quite fast for a 70+ minute affair. Valdrin keeps things interesting with an array of punishing, folk-y riffs, synth swirls and the rare appearance of some clean vocals. The cleans deserve some special praise, as they’re unexpectedly quite good and not just shoehorned in. Their infrequent appearance sprinkled throughout the album really elevates the songs they appear on as a great contrast against constant black metal rasps.

More special praise goes to the title track, which is the obvious standout of the whole album. The inclusion of choral elements and an absolutely beautiful, tasteful guitar solo overlaid makes it feel as though the epic journey Valdrin took us on is about to come to an end. Rounding off with ‘Two Carrion Talismans’, Valdrin gives one of the best band name-drops I’ve ever heard, as well as a previous album title-drop as the very last set of lyrics on the album.

I’ve sung this album’s praises, and it’s been in constant rotation since the first listen, but there is a glaring flaw. This album is long, way too long. There seems to be a running theme this year of incredible albums trapped inside very, very good ones that need some editing. However, I can’t tell you what I’d leave out. Sure, there could be a few minutes shaved off of some songs, but I can’t pinpoint what I’d shave off.

This makes Throne a confusing rating for me. I’d love to give it a much higher score on the basis of sheer enjoyment, and like many things I rate, the score has a chance to fluctuate. That being said, Valdrin has made a triumph. Length aside, there’s some real talent to behold in how Valdrin makes basic symphoblack interesting for 73 minutes straight. It’s a bit self-indulgent, sure, but makes up for it in spades in terms of execution. Well done, Valdrin, now come to Cleveland.

Recommended tracks: Neverafter, Seven Swords (In the Arsenal of Steel), Sojourner Wolf, The Heirophant, Holy Matricide, Throne of the Lunar Soul 
You may also like: Caladan Brood, Stormkeep
Final verdict: 8.5/10

Related links: Bandcamp | Spotify | Facebook | Instagram | Metal-Archives page

Label: Blood Harvest – Bandcamp | Facebook | Official Website

Band in question is:
– Carter Hicks (vocals, guitars, keyboards)
– James Lewis (bass)
– Ryan Maurmeier (drums)
– Colten Deem (guitars)

The post Missed Album Review: Valdrin – Throne of the Lunar Soul appeared first on The Progressive Subway.