Crimfall: The Interview

What inspired this album, lyrically and musically?

I would say lyrically my inspiration for this album came from the untold stories of folklore, the side often left in dark of heroes failing in their cause or leading legions to their hollow graves. How the tale is written on the side of those conquered and defeated. Other inspiration was northern winter as we wanted the mood to be different from the fiery debut. I know Jakke draws his music from all kinds of different sources, finnish nature, movie soundtracks and works of other talented composers.

A question we have always had is how the music scene in Finland works. In the US, Rap, pop and country are everywhere, and metal is still a smaller genre. is metal the music of choice in Finland? What is the live music like?

Here in Finland we have been living few years this weird period where metal music broke from underground into mainstream. It has always been more popular in here than some other countries but these past times have seen it dominate the music charts, summer festivals and even eurovision contests (spit). This of course brings lots of opportunities for the bands but also raises lots of mud from the bottom where people forsake their integrity to grasp out for easy money and quicker more shallow solutions in music often seen more in pop than metal. The best thing in all this is the amount of excellent bands we finally got here to play live you never expected to see in your lifetime.

How much did traditional music and folklore impact your style?

I would say somewhat but definitely not the main reason for Crimfall to exist. Traditional music with traditional instruments is often constricting and results in poor imitations or nostalgic trips rather than creating something great and unique. That being said Crimfall is very visual music and often the picture portrayed is from the old times of tradition and folklore, this means it is usually better to use the sword than the composing pen.

Do you have plans on touring in America?

It would be great but unfortunately still a distant hope. This 70.000 tons of metal thing would be interesting as it is something completely different.

Do you have any bands (big or small) that you would want to tour with?

For Jakke our small tour with Turisas was one of the big things happening for this band as he has huge respect for their music. Personally I would like to share the stage with Primordial or Eluveitie. Some more unusual combinations with more popular bands would be good as well to bring our music to wider audiences, not just folk metal.

What are your thoughts on the downloading of music? Do you see it as a problem, or is it helping to spread great music across the world?

For the metal music it is not such a big problem, metal fans tend to want their music in physical concrete form along with the lyrics and artwork. Of course you can clearly witness the fall in record sales but to my understanding this is also caused by the explosion of quantity. It is so much easier to record and produce good quality sound as studio technology evolves in leaps. Back in the old days if you managed to get a record deal and release an album that was not utter shit you could count on at least decent sales. Nowadays the percentage of new bands that sell well is much smaller. Downloading can of course help in the discovery process but it won’t resolve this problem. I also think that services like Spotify will replace the downloading in the long run. In the end bands need to find new ways to cut profit from their work, live concert tickets and merchandise are all part of that, especially in metal music where they still hold their value.

What does the future hold for Crimfall?

I see Crimfall in the crossroad now; one path leads to bigger audiences and wider recognition, other leads to more underground status. We managed to get a good concert booker and are beginning to invest heavily on touring. Next year we will focus more on the third album. The direction we go with that is still in flux.

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The Best of 2011... So Far. (With Podcast)

Every year is a good year for metal. Even when some of your favorites don't release new albums, there are scores of new bands, fighting for your attention. So, Murmaider and Hell22 have compiled a list of their top 10 favorite metal albums of the first half of this year. Check out the lists, and corresponding reviews.

Keep in mind that the lists are not based on the Sorrow Eternal reviews, but rather their personal enjoyment of each album. And just think, the year is only half over! We still have new albums from Chimaira (8/16), Dream Theater (9/13), Opeth (9/20), Mastodon, and so many more.

Hell22's Top 10

1. Amorphis - The Beginning Of Times (review)
2. Draconian - A Rose For The Apocalypse (review)
3. Symphony X - Iconoclast (review)
4. Brymir - Breathe Fire To The Sun (review)
5. Arafel - For Battles Once Fought (review)
6. Hell - Human Remains (review)
7. Moonsorrow - Varjoina Kuljemme Kuolleiden Maassa (review)
8. Suidakra - The Book Of Dowth (review)
9. Crimfall - Writ Of Sword (review)
10. Tersivel - For One Pagan Brotherhood (review)

Murmaider's Top 10

1. Stratovarius - Elysium (review)
2. Within Temptation - The Unforgiving (review)
3. Amon Amarth - Surtur Rising (review)
4. Draconian - A Rose For The Apocalypse (review)
5. Burzum - Fallen (review)
6. Moonsorrow - Varjoina Kuljemme Kuolleiden Maassa (review)
7. Amorphis - The Beginning Of Times (review)
8. My Dying Bride - Evinta (review)
9. Tersivel - For One Pagan Brotherhood (review)
10. Brymir - Breathe Fire To The Sun (review)

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Tengwar - The Halfling Forth Shall Stand... (2011)

The collected works of J.R.R. Tolkien have influenced many bands over the years, all to varying degrees. The latest group to catch the Lord of the Rings bug is Tengwar, a seven piece folk outfit from Buenos Aires, Argentina. With their new concept album, The Halfling Forth Shall Stand...," they combine traditional South American sounds with Celtic and Medieval influences in a tribute to the trials and tribulations of Middle-Earth. Pack your bag, Frodo. It's time for an epic adventure.

After the chanting introductory track, "Return Of The Shadow," Tengwar dive into the fray. Guitar shredding and dizzying drums are the foundation for flutes and pipes in "A Long Expected Fading." The tempo is intimidating at first, but as the vocals kick in, things calm down slightly. While the music carries you directly to the Shire, the vocals are a bit off-putting, delivered in a manner that is seemingly off key, and too tremulous. A chanting styled chorus redeems them, drawing attention to the lyrical content. Thumping drums and ethnic instruments consume "The Halflings Rise," another interlude, leading directly into "War Begins." This track is a realization of the vision, trudging ahead in that glorious folk way, making you choose between dancing and banging your head. The clean vocals are a struggle at times, but the harsher, screeches are spot on. The standard instruments are near flawless, delivered precisely.

The band fire through tale after tale, from the triumphant tone of "Marching South" to the emotionally charged "Snow And Defeat." Drumming is strong, almost to a point where it becomes part of the background. The tribal tinged "The Password" serves as an intro to "Dwarf Sings In The Dark," which is an epic display of instrumental prowess. The gang vocals throughout are the perfect addition to the flurry of instruments, as varied and diverse as the band itself. The darker "Fire And Shadow Defied" is immediately followed by a song that contains more acoustic styled passages than distortion, with flutes, pipes and strings coming together in a brilliant harmony. "The Pilgrim's Gone" even contains a thrashing solo that would make many power metal bands green with envy.

The more march oriented "In The Land Of The Golden" is a change of pace from the established thrash. There are still blazing guitars cutting in and out, but the drums alternate between the high tempo onslaught and a slower, more assertive thump. The raspy vocals return, briefly, in a welcomed change. An acoustic interlude, titled "Farewell," plays us off to the final piece of the album, running directly into "The Swan." A beautiful female voice gets the spotlight, lead by a stunning musical piece. The fields of Middle-Earth can be seen, waving in the winds. The visuals are stunning, as each layered piece adds new depth to the sound.

A heavy, tribal beat and flowing bassline begins "Uruks," before allowing a cloudy guitar riff to take control. the wind instruments are delicate played, yet so commanding in their presence. This may be the most complete track on the album, with the vocals taking a back seat to the music at hand. The gang vocals inspire the end of the journey on "The Bearer's Choice." Each piece of the puzzle comes together, from the steadfast guitar work, to the barrage of pipes to the rock solid drumming. As quickly as it builds, it begins to fade away, coming to complete silence as the disc ends.

Much like the battles of Middle-Earth, there are victories and defeats on this album. Musically, it is refreshing and vibrant, with each member filling a void in the sound. This isn't just standard folk with Tolkien lyrics. They have truly captured the sound of the Shire. However, the clean, almost operatic, vocals do struggle to rise to the challenge. They have certainly done the story justice, and there is cause for celebration. But if this epic is to become a trilogy in the same quality of Tolkien's, there is some polishing to be done.

7/10

Official Site - http://tengwar.com.ar/
Myspace - http://www.myspace.com/tengwarfolkspace

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Warrel Dane - Praises To The War Machine (2008)

Warrel Dane is a busy man. The versatile frontman of a reunited Sanctuary and currently crumbling Nevermore is always on the move, always working on something. So, it isn't surprising that when 2008 rolled around, and there was a break in the action, he went directly to the studio to write and record a solo album. And so, "Praises To The War Machine" was born, another notch in the belt of one of the best vocalists in metal.

There are certainly some monster metal riffs, as is evident in the opening track, "When We Pray." But this isn't Jeff Loomis, and these aren't Nevermore songs. The guitars are roughly distorted, chugging up and down scales. Lyrical content is the name of the game, with an indictment of religion at hand. From his signature classical style to haunting whispers, Dane hits all the right notes. Drums get the lead in the opening section of "Messenger," with some serious double kick work. The emotional tone of voice used in the verse is the perfect compliment to the darker work in the chorus. The solo guitar work in the bridge is astounding, backed by aggressive bass lines and cymbals.

The slower, more poignant "Obey" is eerie in it's simplicity. Precise, punching drum work pads out the track, with distorted chords ringing out. A clean guitar solo gives a reprieve, but Dane returns with a scathing view of society's flaws. He proclaims that the end is near, and we are all insane. The assault of "Lucretia My Reflection" shows off Dane's vocal range, allowing him to switch from raspy growls to his deep crooning. Keeping the lyric sheet close at hand is a must. Dane's version of a ballad is realized with "Let You Down," a song that makes the most of acoustic guitar and vocal melodies. The riffs and drum beats will leave you swaying from side to side, but this is a stripped down opus, allowing each piece to shine through.

Haunting lyrics begin "August," delivered in an almost talk-singing style, with effects adding to the mystique. Guitars come shredding in, the clang of cymbals offering full support. The tale of loss is told, while a rumbling bass line echos through. The track is a very personal piece, and you feel the overwhelming sadness in each word. In contrast, there is beauty in the acoustic guitar and string opening of "Your Chosen Misery." Lyrically dark, yet somehow powerful, he continues to show that metal doesn't have to be dumbed down to grunts and screams. Not until the final third of the song does the hammer drop, and heavy strumming and drumming cuts through.

"The Day The Rats Went To War" could find a home on a Nevermore album, with the bass heavy rhythm section locking hand in hand with chunks of guitar. But on the following track, "Brother," Dane solidifies this album as a metal masterpiece. The slow, crawling pace, combined with his delicate clean vocals builds the emotional investment. When the first distorted guitar chords come crashing down, you are now fully immersed in the material, feeling as though the lyrics are being delivered to you and you alone. The alternating fury and frailness of "Patterns" is inspiring, with layers upon layers of instrumentation to create a deep wall of sonic waves.

The album concludes with "This Old Man," a memory revisited for Dane, with somber verse giving way to thrashing bridge and back again. He proclaims in the chorus that he will, indeed, "remember the words of this old man, until my dying day." A fitting and emotional memorial. "Equilibrium" takes us to the end, with some intense, high speed chord work. This is the most aggressive beat on the album, driving the final nails into the coffin. The guitar work is fast and furious, with drums pounding each and every beat harder. Dane's vocals soar over the top, with one last burst.

Warrel Dane's vocals are a polarizing topic. The fact is, you either like them or you don't. There is very rarely a middle ground. And on an album like this, where his vocals are truly the star, detracters might be better off simply passing. But for those fans who fall on the positive side, this record was made for you. Focused, powerful and assertive, it's time to finally time to sing his praises.

8.5/10

Official Site - http://www.centurymedia.com/artist.aspx?IdArtist=196
Myspace - http://www.myspace.com/warreldane

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Kromlek - Finis Terrae (2011)

Much like in baseball, metal has its contact hitters and its power hitters. The contact hitters put out their albums, hoping to carve out a niche in their genre of choice. The power hitters try to shake the earth itself, tearing down their subgenre in an effort to redefine and rebuild it. Kromlek, an impressive new outfit from Germany, are the latter. This is not a bunt. This is not a single to left field. On "Finis Terrae," they have have blasted a ball so far it may never be found.

Beginning with the rather ambitious prelude, "Iron Age," the band showcase their desire to break free from the pagan mold. A triumphant mix of horns, strings, thumping drums and wailing guitar chords, the track is the epic introduction to the tale. But the majesty is shredded by the initial guttural growls of "Nekropolisae Fall." rarely do you see keyboards featured so brightly in music this abrasive and heavy, but they shine through the distortion and screeching black metal vocals. The spacey keys dart in and out of the thunderous drum beats, which have the mechanized precision of classic industrial metal. A guitar solo takes the stage, setting the neck of the guitar on fire, before breaking off into Middle Eastern sitar styled playing.

The blackest of the black comes through in "Angrliodh." Drums are lightning fast, and the guitars are equal to the task. The tempo slows a hair, allowing fluttering synthesized keys to break free. Screeches turn to growls, but neither one compares to the feeling of crawling skin provided by the spoken word passages. Purely terrifying. Leaning more to the uptempo death/folk side, "The Cocoon" is a lesson in contrast, with music that seems upbeat and lively, while the vocals remain steadfast and ominous. Brilliantly placed guitar and keyboard solos set the staged for a booming outro section, complete with double kicks and ear piercing vocal screams.

The band fire through "Mantikor," inducing a severe case of whiplash, without losing the integrity of each instrument along the way. Drums, guitars and keys share equal roles, forming something greater than the parts. "Manjushri Aus Mir" is a weaving, winding ride through the sublime. From effects laden guitar work in the opening, to the damn near abusive vocal patterns, it may brings chills to your body. The pitch perfect work of the rhythm section is to be applauded, keeping guitars and drums in check. Mark and Joris of Heidevolk lend some German vocals to "Moritvrvs Immortalis," a track that combines the dynamics of Thrash with the localized nature of folk. Complete with strings, this one is a neckbreaker.

The alternating shred and stomp of "Ad Rvbiconem" is a refreshing change to the flow, with the mystical keyboards on "Bastion" will leave you momentarily puzzled. But once guitars enter, and the drums pound away, you will remember where you are, and what you have in store. The abrasive screeching vocals steal the show this time, soaring over the top of the distorted chord work. But again, a well placed guitar solo breathes fire into the genre. "Creations Crowning Glory" starts as most power metal tracks do, before the evil, soul depleting vocals enter. The combination is a winner, heaven and hell, slammed together.

Equilibrium mainman Rene Berthiaume lends his vocal talents to "Metropolitan Roots," a track as diverse as the band itself. Clean vocals mingle with deliberate drum fills, descending into a full on assault of kicks, snares, cymbals and guitar notes. The glue remains the keys, keeping the mood light, even in the darker, heavier moments. A child's voice speak over delicate piano keys and guitar solos, in a way that may leave "Egophaneia" lingering in your mind for days. Uplifting, yet somehow sad, it will cut to the heart of you. The epic title track finishes your journey, hand on your throat. It forces you to gasp for each breath as speed increases to the breaking point, double kicks pounding your skull. This is an end, but not to the album. This track could bring about the end of the world.

We often speak of bands that defy conventional tags, that somehow manage to reinvent the genre that they have been dubbed. Dimmu Borgir, a perfect example, took black metal to places it needed to go. Kromlek have the potential and the talent to accomplish a similar feat. With "Finis Terrae," they have begun to change the conceptions of what pagan metal is and can be. I won't dare try to annex enough adjectives to describe what they do, but rest assured, it deserves some attention.

9.5/10

Official Site - http://www.kromlek.de/
Myspace - http://www.myspace.com/kromlek

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Lacuna Coil - Shallow Life (2009)

Usually known for their dark, gothic tones, Italian metal group Lacuna Coil has brought their sound to a whole different direction. Their newest album, entitled "Shadow Life," entails more hard rock melodies and catchy refrains. They still keep a dark image to the album but it isn't delivered in the gothic style that they've grown accustom to. It's got some really strong points that stick out and carry you through the motions. However, there's a couple of weak parts that really question what the band was trying to go for, sound wise.

"I Survive" is the opening track that starts with some monstrous distorted guitar riffs that chug away to the drums, immediately catching your attention. Lead singer Cristina Scabbia comes in the her gorgeous vocals in the verse and lures you right into the chorus. Back up vocalist Andrea Ferro sings the chorus with his raspy clean vocals. The melody is very catchy and will probably have you singing along by the second or third time hearing it. Meanwhile, heavy guitar riffs fill in the background with explosive drums and loud cymbals. Following this song is "I Won't Tell You," which has a lot of similar elements to the first song. Scabbia takes care of the verse with eerie melodies while Ferro jumps in during the chorus. Scabbia has a lot of talent, but I feel she's held back in this album, as Ferro is given a lot more parts to sing.

She's given the spotlight in the song "Wide Awake," which slows things down with its acoustic sounds. Scabbia really gets to show off some of her magnificent vocals as she belts the chorus beautifully. The piano and acoustic guitar riffs really brighten her voice and give a deep, emotional feel. The song paints a beautiful picture with its meaningful lyrics. Unfortunately the following song, "The Maze," barely has her in it at all. Other than a couple melodic chants in the beginning and a line or two in the chorus, everything else is sung by Ferro. Also, the music is pretty basic with repetitive chords strumming over and over again, layered with a simple kick-snare pattern through most of the song. This is another song really reaching for that mainstream sound.

If it wasn't for Scabbia in "I'm Not Afraid," you would think it was a Linkin Park single. The refrain is Ferro screaming "I'm not afraid" like Chester Bennington screams "Crawling in my skin" from the Linkin Park song "Crawling." This just isn't Lacuna coil. However, it's definitely a radio hit for mainstream music. "Spellbound" had great delivery in the chorus and the guitar riffs were electrifying. This song falls right in between who they were and who they are turning into. It's catchy, the lyrics have gothic tones, and the instruments are heavier and darker. It's definitely a song to check out.

Being a fan of Lacuna Coil makes it difficult to judge this album  because they've changed their style and sound, which most Lacuna fans aren't used to. It's not a bad record, it's just not the Lacuna Coil we all know and love. They definitely leaned more towards a mainstream sound with "Shallow Life." I'm curious to see where they go next.

6.5/10

Official Site - http://www.lacunacoil.it/index.php
Myspace - http://www.myspace.com/lacunacoil

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Asphagor - Havoc (2010)

Providing a newer sound of black metal music is the underground band from Angerberg, Austria known as Asphagor. They have released their new album in 2010, entitled "Havoc." The quality in the recordings are pretty decent and not purposely horrible like a lot of other black metal bands. The album is well mixed and is easy to hear all the little details without having to turn up any specific treble or bass frequencies.

Track one, "Agony," slowly fades in with quiet, eerie strings with wind sound effect flowing through the background giving off a dark vibe. Perhaps that stretched this intro a little too long, however. About a minute and a half into the song enter one of the most wretched and disturbing growls I have ever heard. The evilness echo's through the air producing haunting tones. This is accompanied by rapid double bass pedals mixed with detailed snare and cymbal action. Deafening guitar riffs are hit over and over, surrounding you with pure darkness. As the verses kick in, wicked black metal screaming comes blaring in. The song has great structure as it changes up the tempo frequently from the fast, energetic snares, to the slower fist pumping kicks. Be prepared for a rude awakening when blasting this opening track.

The band loves using exploding toms and snares in the beginning of a lot of their songs. You'll hear this in "Absurd In Death" and "Mountainthrone." It's definitely a great way to build up the track and get the listener pumped. The verses are full of vicious screaming accompanied by tons of thick bass lines and fast distorted guitar riffs. Heavy chugging in certain parts really help fill in any gaps between verses and even give a powerful background during them. They also do a lot of layering with separate guitars playing similar parts only in different octaves giving a wide range of sound to the mix.

If you love these wicked vocals and cannot get enough, you should definitely check out "The Dead Old Tree" and "Soul Of Winter." The verses contain such evil sounding screams and growls. The delivery of the vocals are on point every time and are performed with such energy in every lyric. Also, the drum fills are so explosive and mind blowing. They will definitely keep your head bobbing through every track.

The final song on the album is called "A New God." It immediately opens up with fast pace guitar action and insane double bass drumming. The loudness of the smashing cymbals will make you flinch every time. The bridge slows the tempo down a little giving you a chance to catch your breathe but picks up again shortly after with more violent vocals and electrifying guitars. This is one of those songs that gives you that "I want more" feeling as it fades to the end. So get ready to play the album again!

For being in such an earlier stage of their career, Asphagor has really shown their true talent and potential with "Havoc." Not too many black metal bands can pull off such a strong album right off the start. Impressive drumming and overwhelming vocals took charge and really pounded you to the ground. Let's hope they keep things up. Definitely looking forward to more music from these guys.

8/10

Official Site - http://www.facebook.com/Asphagor
Myspace - http://www.myspace.com/asphagor

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