Cnoc An Tursa - The Giants Of Auld (2013)

Irish. Italian. Polish. English. We are as diverse as the bands we review. And thus, it pains us when people identify themselves or their most miniscule traits by the heritage of their family. Eating pasta has nothing to do with being Italian. Drinking is not a singular Irish trait. Our cultural heritage is being diluted, rather than celebrated. For their part, Scottish metal four piece Cnoc An Tursa are doing the right thing, and bringing back an awareness of Scottish culture and heritage through the use of hard edged blackened metal. Much like their brethren in Falloch, this isn't a cookie cutter act claiming to be something they are not; you can find the national pride of Scotland engrained into every riff, every spoken word, and every synthesized instrument. With the ten eclectic tracks on their debut album, "The Giants Of Auld," the band not only proclaim that they are proud to be Scottish, but give outsiders both near and far a glimpse into the history of the nation known by Americans as the land of bagpipes and kilts.

With the majestic, almost hypnotic acoustic opening "The Piper O'Dundee," the band set a familiar stage for the album to come. But it is with a signature explosiveness that they launch the arc into motion, a grating scream signalling the start of "The Lion of Scotland." The driving force behind it all is the drums, played with speed and precision by Bryan Hamilton. His massive kick snare patterns and thundering fills do wonders for the mix. But even more than that, it creates a wide base for a plethora of sounds and instruments to stand upon. From the dueling guitar lines, which range from destructive to dance-worthy, to the more widespread use of keyboards, there is a much needed structure to how things rise and fall. With vocalist Alan Buchan unleashing the wrath of his raspy screams, you have a completed mix and a bulging piece of metal strength. And while he shares the guitar spotlight with fellow founding member Rene McDonald Hill, the heavy lifting he does in both roles on "Bannockburn" is extraordinary. The heavy distortion on the guitars somehow still leaves room for them to be atmospheric at times, bolstered by the airy synthesizer notes that ring out behind them. Moving at a breakneck speed, it seems to go by in a flash. throwing you head first into "Hail Land of My Fathers" with no more than a seconds notice. This may stand out from the rest of the album, but for reasons of higher quality; instead, it is the interesting merger of styles that may raise an eyebrow, as they walk the gap between melodic death and blackened folk with grace and gusto. The melodic leads become the neat little bow on an increasingly impressive gift.

And while the previous might be the most intriguing when all is said and done, it may very well be "Ettrick Forest in November" that occupies the role as most complete. Hitting on every ossible genre variation, you have a taste of all things heavy and melodic. The duo of Hill and Buchan on guitar does an incredible job of being both larger than life and perfectly subtle. If there is any downside to this display of melodic mastery, it is that it simply goes by too fast. It feels more like an appetizer than a main course, despite the four minute run time. But if it is indeed a mere bite, then "The Spellbound Knight" is the full meal. It embodies everything the band has to offer, and displays their keen grasp of all things melodic and pounding. Whether it is the guitar work, the keyboards, or the way the drums are pieced together, everything has a place and occupies it to perfection. "In Shadowland," however, steps away from that blooming subtlety and takes on a more ferocious approach. There is a stomping effect to the drums that is sure to start a mosh frenzy at any live event, despite tempo changes throughout. Buchan's vocal lines are devastating in their tone and delivery, adding a tremendous depth to the overall mix. It is also here that bassist David Anderson truly emerges for the first time, adding a sizable low end to the track.

By the time you've reached the final trio of tracks, beginning with "Winter - A Dirge," you have a band firing on all cylinders, both literally and figuratively. All of the pieces are working in perfect balance with one another. It is worth mentioning that while the keyboard element doesn't play a lead role often, if ever, it's role is far more important than you may assume. It becomes the glue in tracks like this one, holding together all of the pieces that may have otherwise drifted apart. The melody at the midway point serves as the perfect example. It also helps to make the track feel like the four and a half minute piece that it is, rather than a flash. It would be safe to say, then, that as much as the keyboards hold things together there, Buchan's screams do the same for "Culloden Moor." He undoubtedly takes center stage here, with his growling voice leading the charge in a wave of double kicks and distorted guitar riffs. Each resounding thud of the kick drum hits like a punch to your ribs; a punch that you welcome with no resistance. The synthesized flutes that bring the track to an end are enchanting on their own. So much so, in fact, that they close the album on a simply beautiful note. While you've been tossed and thrown about for half an hour, it is "Blar na h-Eaglaise Brice" that coddles you in the final moments. Serene and calming, it becomes the lullaby you may have been waiting for.

We, as modern people, love to talk (brag) about an ancestry. We identify ourselves by where our ancestors came from, regardless of how diluted it may be for our generation. It makes sense for bands of all races, religions, ethnicity and creed to do exactly the same, and celebrate their heritage through song. That is what Cnoc An Tursa do frighteningly well here, sharing their Scottish history with their listeners in each and every track. It isn't just music that SOUNDS Scottish in origin; it actually represents Scotland's rich heritage in lyric as well. the way they capture the modern and the ancient is what will make this album stand out from many others that will claim to be Celtic or the like. And it is this kind of album that could change or influence the way we view folk metal as a whole, bringing it away from concocted tales of armor and swords from those who represent it poorly, and back to a revival of cultures of yesteryear. And even though the name implies size and strength, you have no idea how big "The Giants Of Auld" really is. Until you listen.

8/10

Facebook - http://www.facebook.com/cnocantursa
Label Site - http://candlelightrecordsusa.com/site/artists/cnoc-an-tursa/

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Mammoth Salmon - Internet EP #2 (2013)

The use of the word "raw" throughout the modern metal scene has created an interesting dynamic. For some, it stands as a testament to the music world without fancy studios and labels spending thousands on the production of one track. For others, it becomes a negative aspect, as if being "raw" equates to being bad or lazy. Which side of the debate you fall on is completely dependent on perception. So as albums and EPs, like the latest from Portland based two piece Mammoth Salmon, find their way through the series of tubes and cats known as the internet, how they are received is as varied as how they are made. With three tracks of humming, buzzing, and feedback laden heavy rock, the dynamic duo of Paul Dudziak and Mitch Meidinger aren't about to inspire any tea parties or finger sandwiches; but their ability to play detailed songs with little to no refinement gives rise to the raw in all of us.

There may be an inherent sloppiness to the way "Nothing Follows" begins, but rest assured plenty follows. When all of the elements come together in unison, you get a bend that is perfectly imperfect. Multi-instrumentalist Dudziak wastes little time flexing his musical muscles, unleashing a wildly impressive guitar solo to offset the stripped down chord progressions. The vocals are a throwaway, though, adding little that the bending strings and rattling cymbals can't do on their own. "Green Lung" provides more in the way of static vocal lines, but does reinforce the musicianship constant. Despite the unpolished production work, Dudziak and drummer Meidinger hold their own in the mix. The trading off of slow chugging and uptempo beats is an interesting one, one that seems to work far better than you would think, given the groundwork. But it is the closing track, the seven minute "Magnetic Fields of Radiant Light" that becomes an exercise in lateral movement. After a minute and a half of clangy, metallic strings being strummed, a pure psychedelic doom song emerges, stronger than ever. Once again, the winding riffs laid down by Dudziak become somewhat mind altering, even in an untamed sea of distortion. They manage to be catchy without throwing off the balance of the track, one that could have been trimmed to a mere five minutes, if the two minutes of feedback that closes had been removed.

There are bound to be bands who use the "raw" mentality to hide the fact that they just aren't very good. Such is not the case with Mammoth Salmon, as Dudziak and Meindinger show time and again that they are more than capable of writing and performing with skill and vision. But because of the production values, however you would characterize them, there will be some, or many, who would simply dismiss their work in the first minute as being amateur. To the contrary, I would estimate that their talent far outweighs the means they used to get it to your ears. With a more focused approach to the recording and mixing process, you might see the next wave of psychedelic stoner doom come through the streets of Portland. And when the Pro-Raw and Anti-Raw protestors fill either side of the street, you might be forced to choose a side. If this "Internet EP #2" is the only piece of information you had to go on, which side would you join?

7/10

Bandcamp - http://mammothsalmon.bandcamp.com/
Facebook - http://www.facebook.com/mammothsalmon

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Gloryhammer - Tales From The Kingdom Of Fife (2013)

I’ve never been a very big fan of Alestorm. Mainly because I feel that most of their songs all sound the same. When I found out that Alestorm mastermind, Christopher Bowes, put together an epic power metal project I  was skeptical. From the start it looked like he was trying to achieve the “so corny it’s good” sound that power metal is known for with Gloryhammer. When done right it sounds incredible and when done wrong, it sounds like Dragon Guardian. When I was finally able to sit down and listen to Gloryhammer, it blew me away upon the first listen. “Tales from the Kingdom of Fife” is a concept album based in medieval Scotland with an alternate history. Christopher Bowes new project passes with flying colors. The album is symphonic, epic, amazing and it never lets up.

Gloryhammer’s album starts off with an epic, marching track “Anstruther’s Dark Prophecy,” that really gives the listener the direction Bowes wants to take this band. The second track, “The Unicorn Invasion of Dundee,” shows what this band is really capable of. It’s epic, catchy, cheesy and one of the best tracks on the album. “Angus Mcfife” continues the album along at a great pace, but is over shadowed by the next track. The fourth song, “Quest for the Hammer of the Glory”, is the best song on the album. The galloping beat of the track gives it an old school, 80’s vibe. It begs to be listened to over and over again. The album slows down with the ballad “Silent Tears of Frozen Princess.” While it’s a ballad, it doesn’t kill the mood or the flow of the album. The next two tracks “Amulet of Justice” and “Hail to Crail” pick the speed of the album back up and lead into the incredible instrumental “Beneath Cowdenbeath.” The album closes with it’s most epic, and longest track, “The Epic Rage of Furious Thunder.” Being over just ten minutes long, it’s a very fulfilling conclusion to the album.

I hope Christopher Bowes keeps the Gloryhammer name going, because he is on to something that could redefine the genre. I can’t remember the last time a power metal album came out that was this catchy and free of filler. There is not one part on the album that drags. “Tales from the Kingdom of Fife” has everything  a fan of epic power metal needs. Great vocals, blistering solos and the cheesiest lyrics since Rhapsody of Fire’s “Power of the Dragonflame.” It’s still early in the year but it’s going to be hard to top this one.  Christopher Bowes has, hands down, created the best side project since Avantasia. “Tales from the Kingdom of Fife” is one of this year’s best, bar none.

9.5/10


- Brian DuBois

Official Site - http://www.gloryhammer.com/
Facebook - http://www.facebook.com/gloryhammer

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Tatanka - Tatanka (EP) (2013)

Strange as it is to say, we as Americans have gotten used to the idea of other countries doing what we do, only better. This leaves us in the weird middle ground: we don't innovate, and we don't create. We're just kind of here. It makes sense, then, that a Canadian band based in Vancouver could take on the name of one of the last great American icons, the buffalo. Under the moniker Tatanka, the Native American term for buffalo, this four piece have carved out a niche all their own with their blend of progressive and post metal elements. The resulting music is as unique as you could imagine, a style that few could copy and none could duplicate. On their new self titled EP, they deliver four tracks of robust organic metal that grows as naturally as the plains of the American Midwest. But unlike the majestic animal for whom they are named, this band will not be going quietly into the annuls of metal history.

With the clean, pastoral opening to "Wallace," the band achieves something important: they peak your interest early and often, while refusing to go quietly into the night. At the first drop of the hammer, you are greeted with a larger than life drum sound, each kick drum rattling your speakers. While the guitars lock down the main melody, the rhythm section drives the track forward. The combination of guitarists Dan Munro and Scott Clifford does wonders for the mix, each injecting a little something extra into each passage. Munro, pulling double duty on vocals, performs admirably, his voice having an imperfection to it that makes it not only endearing but enjoyable. No pitch correction, no auto-tune to be found. His voice, melodic and soothing, sits on top of the bed of distortion and percussion. But when his pipes go silent, the instrumental takes over, with a huge contribution from bassist Tyler Out, whose smooth lines are easily detectable and isolated. It is this focus that makes "Omnipotent Failure" a highlight. Drummer Alex Rybalko is the foundation for the entire mix, his constant percussive assertions becoming fuel for the fire. That flame ignites in full just before the two minute mark, a backdraft of darting guitar work and thunderous low end. Munro and Clifford complement each other well in their lead/rhythm roles, allowing so much to happen between them. The beautiful melodic passage in the latter half is stunning in its construction and execution.

It would be hard to fully summarize what it is that "Serpico" has to offer, but it is simple enough to say the band has achieved something of note on this eight minute behemoth. The bubbling simmer of the first half is enough to keep your head moving and your ears focused. But the way the track grow with each passing second is the most impressive part. It happens so naturally that you would never need to question the writing or recording process. The flow from passage to passage, movement to movement makes all the sense in the world, without ever being predictable or stale. The guitars, tangled up within one another, shift and change like the seasons. Munro's voice soars over the top of it all, with a smooth delivery that finds him at his best. You may find yourself getting lost in the sea of sound that is the last minute, and that would be perfectly acceptable. But with the evolution comes constant change, and the closing track, "Mamihlapinatapai," is no different. The band adopts a new style with Munro softly crooning over the light tapping of drums and cymbals and a soft guitar melody. But Rybalko takes some time to shine brightest with an amazing display of stick and foot work. His high speed tapping sets the gears in motion, with an atmospheric wave of guitars cutting through, padded out by Out and his flowing bass lines. The album comes full circle in the second half of the track, moving back into that beautifully constructed progressive metal realm. These are the moments when cohesion is key, and Tatanka have that in spades.

In an ideal world, we would be able to travel far and wide on whim to see whatever band we wanted. On the private Sorrow Eternal jet, which should be purchased sometime by the year 2113, it would be a whirlwind tour to catch as many shows as possible, featuring the best bands of yesterday, today, and tomorrow. After hearing the latest output by Tatanka, I can assure you Vancouver would be one of the first stops on our journey. They have taken on the name and the image of one of the most iconic American animals, one that graced the big screen in "Dances With Wolves," and did it a great service with the result. They manage to evolve and change, without ever straying too far from center. And the beauty of the album, as a whole, is that it manages to tie itself up in a neat little package when the last note fades away. And while I can't speak for the inspirations behind the writing and recording of this piece of metal art, I can assure you that these Canadians have outdone the Americans once again.

9.5/10

Bandcamp - http://tatankamusic.bandcamp.com/
Facebook - http://www.facebook.com/tatankaband

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Tengger Cavalry - Black Steed (2013)

Folk metal, far too often, is constricted into a tiny cross section of the whole. The Finnish humppa and Celtic varieties float to the top, while many of the other styles get left out. When one of those alternatives makes its way to your ears, it often results in a revelation of sorts. By infusing their native instruments into a rousing blackened folk foundation, Tengger Cavalry are doing something that is far and beyond anything I've come across in the current folk scene. The Beijing four piece, headed by mastermind Nature Zhang, describes their unique style as Nomadic, or Mongolian Pagan folk. nd while that combination of words might not mean much to you now, by the time the album has wound down and ended, they will take on new meaning. For it is on "Black Steed" that melodic, detailed, epic folk metal becomes less of a dream, and more of a blooming reality.

The intro track, "沙场," is a beautifully orchestrated symphonic work, albeit painfully short. There is a majestic quality to it that deserves another minute or two to hash itself out in full. But as it fades and "千骑" begins, the mood changes completely. Immediately, the combination of ethnic instrumentation and traditional folk metal is demonstrated and perfected. Striking a balance of this nature is always a challenge, but one taken on with great care and skill. From the grating vocals of the verse, to the more epic expanses of the chorus, the band finds a middle ground in everything it does. What follows isn't just a lesson in folk inspired metal, but a show of some of the most deft and detailed guitar work you will find contained in the genre. And it is in their enthusiasm that you feel something special, as in the pounding gallop of "出征." The grunts of the vocals take charge of the early moments, while the beautiful string work comes in and out throughout the track. The way it is layered atop the sea of thundering drums and distorted guitars makes it stand out all the better. The solo section here highlights not only the skilled musicianship, but also the crystal clear production and mixing effort. The outro alone would be worthy of a head nod or twelve, with the paced slowed to a crawling finish.

To say that "黑骏" finds the band at their aggressive best is not only a true statement, but a telling one. Even in their harsher moments, they still find a place for melody and meaning. It proves time and again that the two styles, while contrasting, can coexist and boost one another. You would have to look far and wide to find a better example of modern folk metal than this. With all of the thunder and beauty thus far, it would seem hard to believe that the music could get any better. But on "战马," it does exactly that. It becomes difficult to pinpoint what it is about the song that makes it stand out so prominently from the rest, but the combination of native instrumentation and blaring guitar work seems to transport you to another time and place; it's as though you are sitting in the middle of an artsy martial arts film, like "Hero," that has been mashed together with the famed "Metal: A Headbanger's Journey." There are so many subtleties to enjoy, scattered throughout. The same could be said for "风雪中" and the massive thrashing sections. There is a continued show of versatility and depth to each movement, as well as the way the album flows together. With those magical strings talking over lead roles time and again, it changes the entire dynamic of the song. How successful the finale is depends more on your perception of what a closing track should be. The overwhelming beauty that is "故乡谣" defies description or summary. It isn't lacking punch, either, thanks to the booming of kick drums.

It is easy to find fault; it is much harder to find something that embodies perfection. Through repeated listens and intense scrutiny, it became a near impossibility to find something not to like in Tengger Cavalry, or the music these four like minded individuals make. They've managed to take the tenets of folk metal - the sounds, imagery, and story telling - and make them their own. Each sweeping string passage makes you see colors. No, not in a drug induced haze or alcohol fueled bender; but in a profound, almost mind altering sort of way. They incorporate a piece of their country's history into each and every movement, giving you, the listener, a taste of what traditional Chinese music sounds like with a modern metal twist. And though the album stands at only seven tracks, and may feel far shorter than it actually is, it delivers in ways that other folk metal albums fail to. This piece of work, this "Black Steed," is far deeper than you might think.

10/10

Facebook - http://www.facebook.com/pages/Tengger-Cavalry/169782743095255
Myspace - http://www.myspace.com/tenggercavalry

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The Podcast: Episode 77 (The Easter Bunny is a no good motherfuc....nevermind)

That dirty bastard known as the Easter Bunny brought me a little something extra in my basket this year; a head cold that crippled me for days! Better believe I'll have a surprise waiting for him next year. Wanted to catch up on the highlights of the last two weeks in reviews, with some pretty amazing albums. We touched on all facets of the metal world: the death/doom genre was reinvigorated by the work of Soliloquium, power thrash gained new life thanks to Windrunners, the metal opera got a new installment thanks to Tobias Sammet and Avantasia, Intronaut turned heads with a hazy brand of psychedelic sludge,  Myrkgrav told us a little bit about the history of Norway in true folk metal style, and Moradin proved that Canadians can do melodic black metal better than anyone.

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WindRunners - Undead (2013)

It wouldn't be fair to hold the hold the sins of the labels and management against a band. When their caretakers have money on the line, they will do damn near anything to get their product into the hands of listeners around the world. Bonus content that no one wants, tour packages no one wants to see, or a laundry list of bands that this one sounds like, even when they don't. So it is often refreshing to stumbled onto something without any preconceived notion of what you've gotten yourself into. One look at the artwork for "Undead," the new studio album by Ukranian five piece WindRunners, and I found myself wondering what kind of music would be contained therein. Melodic death maybe? Old school thrash? I had to hit play, I couldn't resist. And I had the chance to hear something I hadn't expected, and certainly wasn't prepared for. Nine songs and some forty minutes later, I am prepared to preach the gospel of the new wave of power thrash.

Leading with the title track, it becomes very clear that this is no amateur effort. The production work is spot on, allowing each separate sound to come through with clarity and quality. There is an interesting dynamic at work as well, with a very modern arrangement coming together with a classic vocal line. The guitar work stands out from the rest, but is strengthened by the very, almost too subtle keyboard touches. With a faster tempo, the track flies by and, only after a breath, runs into the equally neck breaking single "Lifeless." This stands as an homage to the aforementioned classic metal style, complete with chanting gang vocals. You would be hard pressed to keep your head still or feet on the floor, most likely opting for an uptempo tapping. Thankfully, the synthesizers make their way into the foreground, giving added depth to the leads. It is in these moments, like the ones surrounding the three minute mark, where the band are at their best, leaving an intoxicating melody engrained in your head. The downside seems to come in the content itself, with could sound flat on repeated listens. But so much of that is stomped out, literally, by the track "First," which is assault and battery in musical form. I can't help but hear Megadeth here and there, as if WindRunners have channeled a younger, before Christ Mustaine for their own evil purposes. This is, in case I misled you, a great thing to behold. With vibrant musicianship and writing here, the band starts to show exactly why they should be pumping through speakers across the world.

And since variety is the spice of life, "Time" is a different animal entirely. The tempo is cut in half, relying on more dense chugging to hammer home the verse sections. It seems strange to find a song of this nature that still falls squarely into the classic power thrash realm, but it does exactly that. With the help of some memorable guitar work and the occasional high pitched wail, you are sure to be impressed and looking for more than one listen. With a blazing solo section, you might find yourself hooked. That same attitude carries over into the ballad, "Prisoned In Stone," thanks to a beautifully orchestrated clean guitar melody and accompanying bass work. But this isn't the downtrodden sort of tune the opening would lead you to believe. It erupts in a flurry of distortion and thunderous drums, only to be pulled back into a neoclassical interlude. Standing at nearly six minutes, the longest track on the album, there is not a single second left untouched, with each breath being packed full of guitar, bass, drum,s vocal and soothing keys. More importantly, though, is how the band comes roaring out of this softer break. The bombastic and altogether raging "Eternal" is just what the doctor ordered. As if their influences hadn't been worn openly enough on their sleeves to this point, a fair amount of Avantasia could be heard in the wailing vocal lines and squealing harmonics here. This isn't hero worship though; this is a modern spin on the classic formula.

So when a blazing track like "Evil Potion" comes into your frame, it all makes sense in sound and arc. With twirling guitar riffs dominating the mix, you are reminded again that this isn't a one off garage act, but musicians wit a tremendous amount of skill and vision. The fact that the songs are as catchy as they are good makes for a dangerous combination that I am more than willing to risk. And while you may be disappointed that "Cold As Ice" has nothing to do with the Vanilla Ice classic song and movie, you'll quickly shift gears into enjoying a punk inspired thrash track. Complete with galloping drums and those insanely catchy gang vocals, you find yourself awash in a sea of chugging guitars and darting bass lines that are sure to get your fist pumping. It is the keyboards that seal the deal here, often flying up the scales alongside the leads. It would seem only fitting that the closing track be one of the best, and "Goodbye My Darling" fits that bill to perfection. Equal parts slamming thrash masterpiece and winding power metal arrangement, the track is five minutes of raw power, harnessed and forced into digital form. The tone in the vocals, something I have managed to fail to mention to this point, might be one of the best selling points the band has at their disposal; just raspy enough to give rise to the grit of the album, but melodic enough to sing along to. With a solo that would make some of the all time greats blush, it becomes the best end you could find.

Bands, labels, and management will do whatever they have to do to get you to listen (read as: buy) their albums. They'll spam you, they'll flood the radio, or, worst of all, use the dread "Listen to these guys if you like.." and subsequently list ten unrelated bands from varying genres. This album by WindRunners, in all its unrestrained glory, fell into my lap without a breath from the band, the label, or the management. I had no expectations, other than ones that I form with my own eyes and ears. And in this case, that was all I needed. These nine tracks have a seemingly endless list of positives and few, if any, real negatives. It might not click right away; in fact, it may take several listens all the way through before you find yourself truly immersed in the music. But when you get to that point, it will all make sense. No amount of pushing or prodding could really capture your attention the way the album itself does. The best albums are the ones that surprise you, or even prove you wrong. And "Undead" did both.

9/10

Official Site - http://windrunners.com.ua/
Facebook - http://www.facebook.com/windrunnersband

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