November is Doom- Mansion : "Second Death"

 

This Finnish band is doing doom in the most unique manner I have heard this month. The opening track is a minimalist folk song that sounds like a hymn a cult would sing as their mantra. When things get doomy it is not until the second song. Though varied, the cult choir is still a thing, and the song lurches along in a very creepy manner. The tangible darkness of the music is heavier than the distortion of the guitars of the volume. This song breaks down to more of that cult choir then builds up with a great deal of sonic power.  At times it reminds me of Low, but much heavier and darker. 

Where male vocals are a low gothy croon, the female vocals owe more to the Cranes, as they are high and fragile, with an impish sense of naughtiness to them. She is capable of bending her voice around a wide range of emotional expressions. This sometimes means the songs ebb into more of a haunting folk. These are kept airy and sparse in instrumentation. Bands like Swans and Cocteau Twins come to mind when it comes to how they weave the ether into their sound. This is a huge compliment since those are also two of my favorite bands.. The way this ambiance is stretched out into the pastoral landscapes feels more post-rock at times. If Johnny Cash and Le Zeppelin jammed it might sound like "Heathen Hole". The more driving percussive instruments that join in create the album's fullest sound yet. 

It is hard to label what happens going into "In the Court of the Sorrowless" It can only be described as dark, so perhaps goth is fitting. . Out of nowhere, it churns into a more rocking riff. This displays one of the band's strengths is never taking the easy what and doing the unexpected. The title track is more of a dirge and should silence anyone questioning if this is doom. It goes from dripping variations of slow and pours atmosphere over it. "You Are Suspicious" kinda lingers into a drone with repetitive vocals and riffing that do not change until what might be the chorus around the three-minute mark. It simmers down back into cult choir.  I will give this album a 9.5, and will see how it grows on me, I think they tap into cool dark places that few go in a new way. There is a neo-folk feel that blends with their brand of doom which is pretty unique.

Bosco Sacro: "Gem"

 This quartet out of Italy plays a very dark and atmospheric kind of music that is hard to pin down. Originally I checked this out for Black Metal History month, and while I have seen this album categorized as such on a couple websites , I am not hearing in two songs in . There is more in common with neo-folk or goth than black metal, sure those genre'/s share some common ground with black metal at time, but they are not one and the same. The first songs is more droning and it is not until the second song is when things really begin to heat up. The singer uses her voice like an instrument, which I am a fan of rather than verse / chorus pop structure to songs. Artists like Dead Can Dance and Kate Bush , are a fair  measure of what is going on here, which is a compliment in and of itself. 

The singer's alto which can be both ghostly and ominous, is the driving for of their sound. There is more of a Cocteau Twins like sound to the vocals on "Fountain of Wraith" . Spoiler alert it is a good sign that I am bringing some of my favorite artists to mind as I listen to this album. However when it comes to how much mileage I get out of this one in weeks to come that remains to be seen. Things are darker and more dynamic as we begin to hear more of her upper register on "Emerald Blood" which is bewitching in it's own way. The song it self is not as droning as the opening track, but perhaps the second most hypnotic. 

There is a more melodic throb to "Les Abres Rampants" .  Her voice is more emotive and brings Zola Jesus to mind. Dynamic without adhering to the formula of pop culture's soundtrack. The last song is more of an outro than an actual free standing song at under two and a half minutes. It just pulses without actually coming to life. I will give this album a 9.5, not sure how many spins I will give it out side of tonight's listens, and the fact I already have so many artists in this wheelhouse., but the spectacular job to creating this can not be denied and a must for those into dark atmospheric folk.

Tangerinecat : " Glass"

 

There is a whole backstory that I now wish I had not read on their Bandcamp page about their mental illness, being a gay Ukrainian refugee activist, despite living in Wales, a bunch of convoluted self-identification.  I am just here for the music and do not give a shit about the politics. Falling somewhere between dark wave and industrial. The opening track might be the album's best song. Past of this is due to how bogged down in the smell of their own ambiance this duo gets. "Mass of the Black Cats" is barely a song. If Diamanda Galas did something like this the evil intent would have compensated, here not so much. 

They do have some cool dark sounds. Much like the rule that cools riffs alone does not a good song make. The same could be said of a sound you might be really nice, but do not make me ask if you can write a song twice. The more cinematic "Hereafter" sounds like it should have been on the soundtrack to "the Northman". When the fiddles keep coming out alongside the gypsy vocals a more ancient neo folk vibe begins to merge with what they do.  "Molfar" they take this and begin to dance with it. They create something more machine like in the stomp of the drone with "House of Shards". Think Dead Can Dance meets Bestial Mouths. 

It sounds like a cyber hurdy gurdy is the pulse to " Something Broke Inside" . The eastern chant of the vocals add to the drone they capture here. I do like how the varied layers of sound are introduced. It is where the arrangement does not follow the verse chorus formula but is in how it is built up. "Spell" might get carried away and tries too hard despite being more minimal and almost feeling more like a Coil song .  Overall I enjoy the mood they have made here and this is a very listenable album that flows likea post-apocalyptic Dead Can Dance, so I will give it a 9.   

Serpentent : "Ancient Tomes, Volume I: Mother of Light"

While Anne K O' Neill's dark folk project, might follow a long trend over the past decade of goth sirens, but there is an honest conviction that gives the feeling of earnestness to what she is doing rather than trying to be the next Marissa Nadler or Chelsea Wolfe. It is surprising to see she is from Seattle as there is depth that carries and Old-World European feeling.   The percussion of "Winding " makes the strummed guitar drone more, thus giving this song an almost Death In June feel, despite the female vocals. There is a more brooding storm of atmosphere feel to the "Sonette  an Orpheus". I appreciate how dark it is. There is a hypnotic state it lulls you into, very moody but simple.   

"Oy Ty" is more like a folk choral piece. It sounds like witches joining their voices together. There is a more traditional folk feel to "Death" . Vocally her alto here sound more modern in it's approach than singing this around a camp fire . She continues to build sonic layers which justifies this and keeps it from being to minimal . Overall I would say this album is a much more interesting sonic exploration than I would have expected going into this. There is a very experimental vibes in terms of arrangements, which can be heard on the drone of "Mother of Light"  The use of strings on this song is effective in making it darker. The vocal melody in more solemn. 

She continues to uses a gloomy brush to pain the songs with on "the Fountainhead of Fire' . It is a sprawling song with many layers of sound emerging as it progresses it feels like a more folk version of Concrete Blonde. At the 7 minute mark I am wondering where they can go for the next four minutes and the answers is to break things down into a more introspective ambiance.  The more booming grandeur that bands like Death in June dip into can be heard on the last song. Overall this is an impressive piece of work, if you are into neo folk this is a must as it is one of the best releases of that kind I have heard so far this year, I will give it a 9.5, The album is being released by Svart Records on May 20th.          

Gothtober- Kælan Mikla :" Undir Köldum Norðurljósum"

This album was timed just right.  Darker than I remember these gals from Iceland getting before, but I am not mad about it. Sure the accent is bound to bring Bjork comparisons. I wish Bjork had gotten this dark. The opener has the right amount of drive. On the second song the vocals come more to the forefront and their melody drives the song. There are crazy layers of vocals in the background that sound like screaming witches , helping to make this a perfect Halloween album.  At first it sounded like their were going to the well twice on the third song, but it turns out to be more organic and they are driving the verses with an actual bass guitar. Sung in their native tongue the melodies are infectious enough for you to sing along even if you are unsure what they words are. I think this also gives her the ability to use her voice more like an instrument. 

Midway into the album things begin to take on more of a dark wave feel. Things become more concise in how the more traditional layers of vocals and synth interact within the space in which they are mix. Guitar begins to surface and it is more reverb heavy Cure like guitar. "Sirenur" goes back to a more atmospheric route. The beat is not the album's strongest kinda feels like they are just using a default ethereal dark wave pre set. "Stormurrin" has a thudding bass to balance out the pan pipes and other dreamy elf sounds. Almost more new age than dark wave. The song after this has more wine in it's languid sway. 

Alcest joins them for " Hvitir Sandar" . This collaboration sounds almost exactly as you might imagine it would. Though Neige employs his screamed vocals that are further back in the mix. Musically it is a hypnotic shoe gaze with a big crash.  'Saman" is more like a dark folk ballad, but it is well done for what it is, even if what it is puts the bulk of the weight of the composition upon the vocals. I will give this album, a 9, I really enjoyed what they do here. If you are a fan of the more ethereal side of dark wave with a healthy side of Nordic folk mixed in at times , then this is more than worth your time. 

 

Dust Mountain - "Hymns For Wilderness"

 From Svart Records who is always worth checking out when ever they drop me something. This is darker psychedelic rock with a 60s vibe. The understated female vocals work really well. This is a side project of  Toni from Oranssi Pazuzu. I like the very trippy vibe to the first song that sucks you into the kind of hypnotic sonics not unlike places Swans used to tap into . It is heavy but not metal. The vocals are being handled by his sister and even the drummer from Hex Vessel is behind the kit for this project.  So hypnotic that while left to play the songs glide by rather easy on your ears, but require me going back several time to get a firmer handle on what is going on. At times there is a loose jammy feel, thought the vocals tend to pull the focus together. The second song , in some ways reminds me of the Cocteau Twins as things are allowed to dance around with an intangible atmosphere. Spellbinding in the sense it whisks you way to this surreal place. 

While the fourth song digs into a more driving rock like dynamic as it unfolds, the more moody "Margaret" gets lost as it sits between the second and fourth song. The harmonies are tighter and darker. It is a very interesting excursion . It is psychedelia but more like the Doors than some of the other places they took you on the first two songs. The fact we have female vocals here kind of diminishes the Doors feel. But it simmers in a similar way . It drifts and soars as well. If you do drugs this would be the time to do them. Funny enough the first lyrics I key in on are during this song and about dancing with the devil. The guitar tone changes to something with in common with post rock on "Village on Fire". The jammy under current still abounds. The dynamic shifts of this song are perhaps more noted. With lyrics touching on contemplating what you left behind , this is after the village has been burning awhile.

There is a much more ghostly mood to "Holy Equinox" This is contrasted by "Apollo" which has a heavy bass line leading in then the songs fades into a more folky part, though it is all very fluid. They end the album with the more folky and jammy "Bird Hymns" . This brings back some of the more 60s feel the first song had .Sax wanders around the corners of the song, and there is more of a classic prog feel. I will round this up to a 10, as it defies genres, while wistfully creating it's own sonic wonderland that s familar enough to moody souls in the shadowy places.  

Wardruna : "Kvitravn"

 

Ghaal has been long gone from this project and they have carried on with their Viking music . With a folk album so entrenched in ancient tribalism it would be easy to get lost in the ritualistic  nature of the sounds and not be aware of the songs. That is not the case here. They have taken a page from Dead Can Dance in this regard. There is a sense of movement that creates a primal groove and layers added to create dynamics. This is the band's first album on a major label, Columbia Records. This is no way has caused them to try to make music more accessible to western audiences . I think the first two songs amore solid than "Skugge" which is Swedish for shadow. "Gra" is more minimal in it's instrumentation. The songs begin to focus more on the atmosphere as the album progresses. "Gra" does embrace a wider scope of dynamics it builds into than the previous song  

"fylgjutal" or accompanying number, is very melodic and flowing, with half the volume and even less of the anger this band manages to come across just as chilling as any black metal band. There is a bleakness to the sound of this album that is wonderful . Alot of neo folk comes across like the are trying too hard for Renn Fest. This feel very real and very natural. They touch upon a more folk melody with "Munin". I mean yes this would be great music to play Dungeons and Dragons to, but it is not fun and games in and of it's self.  "Kvit Hjort" or white deer, takes a minute to build , but is worth while when it gets there. "viseveiding" might not have the same impact but is still solid for what it is. 

"Ni" finds them bringing some different sounds to the table, but it is a slower song with less movement to draw you in. The last song finds them back in a place that certainly is giving me everything I could ask from this project. If you are a fan already then this is what you are going to want. I do not see this album opening up many new doors for them , but is a solid testament to what they do and I will give it a 9.5 They make Norway proud. 

9.6

Rome : "Parlez-vous Hate"

 Long time fans might feel the neo folk project is selling out by not making the kind of bleakly obtuse that put them in line for Death in June's throne. It does seem like these songs were written with breaking through in the America. There is even a song that kind of parodies Bruce Springteen's "Born in the USA" But all the above works for me as it is very hooky and concisely written songs. "Death From Above" has a slight hint of country to it and is more upbeat than what you might expect. This song grew on me and it was also made apparent how the vocals have improved. Is there more of a rock touch to it ? Yes. If you just want a folk album then this might take some getting used to. It should not be hard as this is a great album and we are only a few songs in. 

Things get more martial and darker with "Panzerschokolade". I am not sure how serious this song is if he is singing about having Scooby snacks . The song after this finds him getting back to a more familiar folk sound. This song highlights the changed in production which is much brighter on this album. He sings in his more resonate baritone here. I mean this is what he normally does so he is going to be good at it. It however seems like a step back into his comfort song and I was enjoying the change in direction. Acoustic guitar one again takes it's rightful place on this album for "Toll In the Great Death". It has a more swaying Irish folk sound, though there are also Spanish elements introduced. When we get to "Feral Agents" we are at the kind of risk taking I want here as it seems to pay off more often than not . There is a moodier tone to this one. There is more of a New Model Army feel to "You Owe Me a Whole World" .

That New Model Army feel continues on "Blood For All" which flows in almost a Cure like manner that I like but the lyrics asking where are we on the privilege chain , is heavy handed , despite the fact I can never tell what side of things he falls on, I would rather they just did not come up at all and we were talking about lost love , Satan or drug use. "Alesia"  finds him using his upper register more and it smoothly flows , as does most of the album.  I will give this album a 9.5 , so it might not be perfect, but it might be hjis best and I enjoy his songwriting here.

Ataraxia : 'Quasar"

The opening track of this band from Italy is nothing short of spell binding. It's a blend of folk with a fey like atmosphere not unlike the Cocteau Twins. Their lead singer's voice is almost operatic , but not like the cheesy symphonic metal bands that tries to sound like Sarah Brightman. She uses her voice as an instrument that creates as much of the ambiance as any of the instruments. Yes is it very dreamy. I am not sure I would call this dark wave as it goes in the elegant ethereal direction of goth. There are synths. But nothing here is melodramatic.  These guys have been around a while as they have already released 25 albums so they know what they are going for. This album does make me miss Dragon Con more as it is the kind of music I looked to load my iPod with every year for it.

The only draw back is sometims it becomes to atmospheric that is sounds like background music at a new age book shop. They have a great sound though it is so abstract and dreamy it is hard for it to coagulate into a song. "Sex is a Prayer' does have that hypnotic drone , but is soilid enough of a melody to find it self as a song. "Raidence" doubles down on the ambiance. It has a ritualistic beauty but nothin in the way of a conventional rock song. You have to listen to this much in the same way as a Dead Can Dance album. There is repeated samples throughout this album of voices talking about number sequences.There is a science fiction theme to this album which is weird considering how earth based and folky their sound is.

Even more earth bound and folky is " the Timeless" . This is another dreamy tune , but easier to follow than the more ritualistic moments of this album. The synths on "Beyondness" lend themselves a little more to the sci fi theme. There is more form and function to this song , but it is still and more soaring narrative. Three minutes in it break down into the tinkle of a piano and then takes off in a more Cocteau direction. The groove it kicks into floats off before the song is over. There is another track listed as the bonus track it is decent but goes off into a more symphonic feel so since these songs flow together well I am going to not count it when rating this album. Since I brought that up I will give this album a 9. It is easy to leave on and let play which goes a long way with me. This album drops October 16th.

Gothtober - Unto Ashes :" Pretty Haunted Things"

I am not sure how this album slipped by me. I will say Projekt Records you are missing the boat by not keeping me in the loop. For Gothtober I am trying to capture a snap shot of all the many shades of goth. Neo folk being one of the those. The obvious choice for goth neo- folk is Death In June. Second choice is this band. With Rome coming in 3rd place. The first song is very strong with a more Psychic Tv vibe in the ambiance. Edgar Allen Poe contributes the lyrics to "Alone" which is goth as fuck . Maybe goth to the 3rd power considering he is dead. I hope even if you are a millennial and consider your self goth I do not have to explain who Poe is. No mansplaining here, I once went on a date with girl who asked who David Bowie was, I got up and left, had to ...go walk my cats. As a song the Poe thing is ok, but the first song is still the strongest  so far and the bar to measure this album by.

"Too High" confused me as lyrically I can not tell what context high is being used like one toke over the line or up in the air, maybe both. I like the percussion of  their cover of Gary Numan's "Dying Machine" .  It gives the album the needed dynamic shift.  "For My Funeral" doesn't hold up as well as the song is more disjointed without a melody strong enough to keep it together. The more neo element of the folk to "Intertwined" works much better. "White Noise" is more like an interlude than a song. After a piano interlude there is a proper folk song in "Don't Ask me If I'm Crazy" it is a good balance of what they do with a darker tone.  "Fall Leaves" is more of what one might expect when they hear the term neo-fok. The harmony vocals give it more depth.

The album ends with an anti -climactic strum of acoustic guitar. I will round this up to an 8.5. It is a solid album from a genre that can wander too far out into the woods and become hippie background music. The vocals are focused and the sound is fleshed out. That is not to say it is all sound no songs because they songs engage you in the way I would expect from this sort of thing. They are much less ominous than Death In June and that is ok, the vocals here are more emotive. If you are a fan of neo folk I do not have to sell you on this one. 8.4

Hexvessel : 'All Tree"

Had to take a break from black metal to check out this Finnish neo folk acts new album. Since Kvohst is singing they do have a black metal history, but this album is so hippy I could not file it under black history month. This is spurned more by my love for Grave Pleasures / Beastmilk . Not as tense as those post-punk projects, there is more melancholy than flower power. "Son of the sky" has a darker 60s rock sway to it . A neo folk strum running through it. Kvohst's voice sounds great as it always does. There is still that melancholy tremble to it , though it he keeps a very clean folk vocal tone on "Old Tree". The darker vibes carry over into the smooth flow of songs like "Changeling" even with a flute dancing around it. There is a heavier strum to "Ancient Astronaut" . The chorus is a little lighter than what I expected going into the song.

There are some instrumental interludes that I am for the purpose of the review not going to get into. Sure they sound cool, but are not actual songs. There is a very relaxed folk vibe to " A Slyvan Sign".They have some of the best acoustic guitar tones on this album. The guitars are very well layered.I like how groove is blended with the frolicking folk of "Wilderness Spirit". There is a more Pink Floyd feel to "Birthmark". The chorus to this one might have the most feeling to it so far. I obviously like the fact tht "Liminal Night: is about Halloween. There is a similar vibe to the last song, though musically it is much more minimal. It has a more solemn drone to it.

I will give this album a 9.5 ,as in terms of song writing and the over all sound they have expanded their scope on many levels. It's a great sounding album. This could help tip them over to more mainstream audiences as I  can see how indie rock kids might get into them, but then again it still might require more thinking than the average millennial hipster can muster,

Lycia : "In Flickers"

The title track that opens the album is very atmospheric to the point of almost being more of an intro rather than an actual song. When the beat to "A Failure" kicks into to create a more tangible undercurrent of dark wave the more drifting ambiance of their sonic shadows succeeds. The guitar is more brooding as things get even darker for the ominous build of "the Path". This effectively creates tension. The interplay of the male and female vocals works here, but I can see where this album could potentially fall into a formula with this. "She " finds them leaning more into their neo-folk. The airy voical mix makes this more interesting than your average neo-folk that sounds more like goth hippies playing at the Renn Faire.

Things continue to drift further into the shadow land they are weaving with "25 Years". There is almost a doom feel that I like. It sways much like some of the Swans more melodic work, though the vocals are very light and lack the resonance of Micheal Gira's baritone. The more dark wave groove returns for "Mist" this gives the song a stronger sense of their self than some of the more wandering bits of atmosphere they tend to indulge in. The guitar tones in this song are really excellent. While they are not wildly out of bounds for what you expect from goth music, they extremely well done. The drums are more organic to "34 Palms". Every thing sounds great but dynamically hovers in a very similar place.

"Rewrite" carries more weight and an exotic texture that helps set it apart aside from the fact the vocals seem to be a one trick pony. "Late Night Solitude" floats in an almost shoe gaze like glaze to it's dream time ambiance. So much so it feels like more of an interlude than a song. This leaves them to close with "Autumn Into Winter". It's another song that sounds really good but floats on stagnant waters dynamically. I'll give this album a 7.5, at first I really took to it, but then all the songs began to sound the same and never really went beyond where they started. If you are looking for more ambient goth or are a fan of these guys then it is probably what you are looking for.

Gothtober-Rome : "Hall of Thatch"

By the second song Jerome Reuter proves his gets better with each album. By the 3rd song it's obvious this album is a lot darker, which is fine by me and a reason for this album to be included in "gothtober" as it carries a very Swans like feel. The theme of the album is a darker spiritual exploration and much more personal than the political themes he has championed in the past. I think this is a wise choice for him as this seems to elicit a more emotional response. "Slaver" seems to touch on personal issues with relationships. It blends a shadowy folk country with more northern European sounds. It aids his vocal performance and finds him singer with greater range and vigor.

"Martyr" is more aggressive to the point it has an abrasive sting like Swans and a vocal ranting more like Birthday Party era Nick Cave. "Hawker" has a more celebratory tone as is more akin to his previous work. He returns to a more experimental tone that carries another Swans like tone to it. I am less impressed by the Swans influence this time around. I prefer when he experiments more along the lines of "Keeper" where he uses the more ambient sounds to paint the backdrop behind him. This allows melody to still maintain the focus. The album ends with a more stripped down folk song. His vocals have been really well produced for the bulk of the album, but how they are double tracked here really resonates with me.

This is a really good album. I think while I can appreciate the Swans influence that cropped up on a couple songs, if it was another band doing it I might have liked it, but since I know Jerome has a much more defined sound of his own, there seems no reason to wear his influences on his sleeves in this regard as it doesn't meet with the same emotional results the other songs have. So I will give this one a 9, certainly placing it head and shoulders above the bulk of albums that have come out this year.

the Weekly Play list VOL- 8 Sonic Temples

Many of the past playlists have focused on either a particular artist or theme. This time I am going more for the sound of the soul. I wanted a departure from the more conventional forms of popular music consumed by the masses. Music is a universal language . This phrase has been said many times with not defined meaning to it. So what I have done is complied some of my favorite genre defying artists though most would be considered folk music of their cultures of as Brendan Perry said when I saw Dead Can Dance live “We’re going to play you a cover song, it’s about 500 years old” . So this is music that defies trends . None of this would make commercial radio, as it’s not about hooks it is about sounds that connect with the spirit.


 It is believed by some that “om” is the vibration caused by “the big bang” . Setting into motion matter from spirit. I am not going to debate metaphysics on this blog , I will save that sort of thing for Cvlt Nation. If you have followed my work on Cvlt Nation then you know I am out of the broom closet when it comes to my interest in the occult. So these are songs I find fitting for ritual. They range culturally from Egypt to Norway , yet hold the same exotic current. It hits you somewhere between a drone and slither. So if music is a language this is not for the consuming masses , but getting in touch with a transcendent place beyond the mundane. Enjoy, happy journeys.


Wardruna - "Hagal"

 


 Dead Can Dance- "Yulunga"


 


Peter Gabriel- "Of These Hope"


 



Hang Massive - "Once Again"

 

 Zywiolak - "Hela"


 

 Heilung - "Alfadhirhait"


 

 Anna Von Hausswolf- "the Mysterious Vanishing of Electra"


 

 Folknery - "Karchata"

 


 Natasha Atlas & Trans Global Underground - "Ali Mullah Lament"



  Odo Ensemble - " Nami Nami"

Isenordal : " Spectral Embrace"

This Seattle band's "Shores of Mourning" album earned a 9, so the bar is high. They start off with their more neo-folk side taking the lead. The vocals are soft and the strings holds most of the melancholy. The female vocals join in to add harmonies.It's hazy but not dark. There is a droning quality to it that does have a mesmerizing appeal. It's not until the second song that harsh growled vocals come in over the gentle plucking of the folk that unfolds. The 3rd song transpires in a very similar manner to the first two. The first two songs worked for what they were, but now I am waiting for some kind of dynamic shift, otherwise this is going to feel like the background music at a New Age bookstore. The vocals work well and I get that the hypnosis of drone is what they are going for. If they want to go straight neo-folk they are succeeding. Four minutes in the folk does get more aggressive. The harsh vocals return again and things do get marginally darker.

"An Entrancing Dream" begins with a more ballad like tone. The vocals are very subdued. Now we are back to being new age hippies. So it's safe to say I could stand for this album to be darker. In the last minute and a half the harsher vocals return from behind a wall of distant reverb. Too little too late. "Dissolution Into the Earth" might be slow, but it is not doom, so do not let anyone try to fool you into thinking different. Not that I need them to be doom, I'll settle with darker folk. The vocals stay hushed on this song as well which begins to create a more uniform sound. The harsh vocal come in sooner to counter balance the female vocals, though the over feel of the music remains the same shade of gray. The song breaks into a more energetic strum and percussion enters. This is enough of a dynamic shift to make it work for me. The melody to the last song was song pleasing to the ears and one of the more interesting bits of vocal interplay on the album, but the accompaniment did not stand out and made the song fade into something that was ok, not great or breathtaking.

Overall, this album crosses over into full submersing themselves into neo-folk. Not as dark or heavy ass the previous album, I'll give this a 7.5. If you were always more of a fan of this band's folk side and don't need them to be heavy, then this change won't phase you.



 

Winterfylleth : " The Hallowing Of Heirdom "

Well this is something that might not be totally out of left field for the band as they have always had folk elements to their sound, but for this album they have abandoned metal altogether to make a neo-folk album. The first song I thought was more Dead Can Dance for them, then I went and read the promo pack for this album to find it's all acoustic. I guess even them you could have double bass or growling without distortion, but I don't think that is their intention here. It might not be what I want from them but it is well done. The test will be is it all ballads. Just because you are playing acoustic it doesn't meant it all has to be ballads, but that is what we continue to get on the second song. This time is largely instrumental with the vocal parts mainly textures in the background. They find their way back to a strum for "Aecerbot".  I guess this still falls in the ballad pile. The strum of the guitars gives it a little more movement. The vocals kind of drag behind the guitar.

The bulk of the instrumentals on here just sound like they are playing around on the guitar and decided to record it. The vocals return for "Elder Mother". Another song that is more reflective in it's pacing. It gives a bardic recall about one of England's kings. Then "Embers" is something that feels more like an interlude than a song. But since they feel it is a song and the bulk of the album are pieces like this , then I will judge it accordingly when rating this album. A string section is introduced to the gloomy "A Latch to a Grave" this is one of the album's stronger moments. Much of that is owed to the strings and the layered vocals.

The last real song is also the title track that closes the album. The vocals are really well recorded and it's not a bad song, but it continues on the same gloomy ballad tangent they have been on for the bulk of the album. While I am fine with gloom, I would like some varied shades in terms of dynamics as this sits kind of flat with me. I'll round this one down to a 6 for this reason. If you are really into neo-folk, how much new stuff can be coming out ? so you will glad to get anything.

This album comes out  April 6th

Unwoman : "War Stories"

So all I have really known in regards to this project was from the State of the Goth Scene panels that Erika Mulkey has been on. I might have caught a moment or two of her performances there but it did not stand out in my mind so that is questionable. There is more of a folk feel to the opening song than I expected going into this album. Solemn is a better adjective for this song than dark. I like the piano loop in the title track, the way the vocals wrap around this is very Rasputina, which is a good thing in my book.The chorus is more straight forward pop that what Rasputina would do and that is ok as well since I want Ms. Mulkey to have her identity. Lyrically I think she has a very clear vision of how she wants to communicate her ideas which is another positive quality. I might not always agree of where all the melodies go as "Saviors" reminds me a little of a Broadway song, but I like when it transitions back into the verse, so it's either a mixed bag or just takes me a little bit to get used to what she does. I think the fact I can hear a little Kate Bush in what she aspires to do is what makes me more understanding of the big picture.

"Before the Flood" is lyrically grim, but is sung with a brighter shade than what you might expect from the lyrics. The backing layers of vocals are somewhat more morose. Aside from the cello the instrumentation is rather sparsely mixed but for what it is the song seems to work. "the Surrender" is more of a ballad that meanders for the first minute, the cello builds things on what would be the chorus. Lyrically it is a little more obtuse than the previous songs. "Bad Man" is a little more compelling in both narrative and musicality. The more feminist slant to the lyrics is not my thing, but I appreciate it's hers and like for people to be about something. "We Love Longest" doesn't really stand out despite it's smooth sing along melody. I prefer the more exotic melancholy to "the Same Stream". Here the minimal electronics work well in contrast to the more organic qualities and lurking languid vocals. "Flies" is where things fully commit to the goth side. Not the best song, but it is the darkest so far.

There a 50's doo-wop feel to " Waxing Gibbous" which was not what I was expecting, but I think it's cool as it certainly widens the albums dynamic range. Things mellow out further on the dreamy "Almost".  The lyrics are personal and seem to be about finding her place in the world. She stays in this surreal sugar dust Bjork like place for "Breathe Out". The vocals are well layered. I'll give this album an 8.5 it's well crafted and she has a knack of taking her voice to interesting places. Will make it more of a point to catch her on the Con circuit this year.

A Dead Forest Index : "All That Drifts From a Summit Down"

Of course we are going to check out the band that is touring with Chelsea Wolfe. This duo keeps things dark and simple. The vocals are generally androgynous, giving these guys a much different sound than if they were just another band of Ian Curtis impersonators. The music drifts by you with the slow melancholy pulse similar to Chelsea Wolfe's earlier work hovers like a rain cloud over it.Both bleak and graceful, it often defies genres, sure indie rock is the broadest genre, there are more folk and western influences hinted at than writing these guys off as being post-punk. Slow-core bands like Low certainly would be a reference along with the likes of Sun Kil Moon to some extent in the lethargy that lingers it the heart beat of these songs. Some of the mesmerism lifts on "Cast of Lines" which doesn't feel as depressively taunt and works more off the layers of harmonies which might be impressive, but do not embrace the guitar as tightly nor give the song the same sense of movement. "Ringing Sidereal" is more minimal with the  haunting vocals well layered , this could be played in a more reflective scene of a David Lynch movie.

There is heavier feel to "In Greyness the Water" thanks to the more  foreboding accents of the drums. They roll around the vocals, creating pressure and tension without doing the typical post-rock build. The chant like melodies give a more droning sway to the song. Sometimes they are minimal to the point on songs like "Sliver Thread of the Sun" that is more of a breeze blowing by than a tangible song. This is given a contrast with the almost poppy "Myth Retraced" that reminds me of Coldplay.But this has enough shadow cast on it to win me over where Coldplay falls flat on me. Another more mainstream artist comes to mind on "Sand Verse" , the Shins...in how the melody coasts over the guitar, Though it could be just as easily reasoned that this comes from an  Elliot Smith influence. For the bulk of the album the vocals do most of the heavy lifting when it comes to keeping the songs together and this is really exaggerated on the folk balladic tone of "Upon Dark Hills". Here the vocals just sit atop a drone. The album closes with "Homage Old" in a fitting fashion for the singer's voice lifts the song as it soars upward with more power behind it to prove that while he has sung in a hushed tone for most of the album he has pipes to use if he so chooses.

It will be interesting to hear what this sound like on a rock stage at full volume. I'll give this one an 8.5 and see how it grows on me, I am sure seeing these songs live will help further sway my opinion, I liked the mood the songs create even though at times some of the songs were almost too minimalist for my tastes. I would not be quick to peg this as goth, sure it's on the darker side of indie rock, but it often feels more like folk to me, and I'm not talking about Death In June either.




 

Circle of Ouroborus : "Alttarimyllyt"

Circle of Ouroborus has often dealt an unpredictable product when dropping albums. It could border on death rock it could be more black metal. This new album seems to bring many of the varied worlds this project has travelled in together in a pretty cohesive fashion that shows enough of every shade of sound.The exotic waver to the riff leading into "Puutarha" is a creative high point for this project. The song throbs rather than drones.This streak is broken on the more plodding drone of "Perilla" that hangs on the same note, while emotive screaming echoes into the distance.

 It's only three songs of black metal before the acoustic neo-folk comes in. The first of these songs "Loputon" reminds me of a cross between Death in June and Dead Can Dance. The instrumentation is more like Brendan Perry's solo work and the vocals are more Death in June.The acoustic guitar is captured really well, which is surprising coming from a project that is normally muddy and lo-fi. However the second acoustic song, doesn't have the impact the first one had. The novelty is quickly wears off. So by the third one of these strummed folk hymns you are waiting for something to change. The singer's voice hear is a notch above Varg's folk singing. I am all for clean singing and applaud the fact it sounds like they cared about how this would sound. The last song falls out of the song preceding it so it retains a similar feels and the guitar melody carries over as well. The vocals are more broken up into a chant. But they don't bring anything new to the neo-folk table.

The neo-folk songs sound too similar , the black metal songs are some of their better stuff to date, so hopefully next time they will expand upon that and take what lessons they might have learned experiementing with folk and apply them to black metal. I will give this a 7.

Strangeweather : "S/t"

My bud Sean at Cvlt Nation was on the right path when he called this album perfect. This is Portland based bands first release as a four-piece. At times they play a dark hearted Neo-folk with an Appalachian breeze blowing through the melody. The members switch off vocals resulting in  bringing  wide range of moodiness to the gloom not unlike Sleepytime Gorilla Museum, these kids just don't engage in the gymnastics and instead weave a dirge like mourning to melodies each instrument and voice embraces while adding another swathe of gray to the sonic tapestry. This is not to say they are not capable of weaving intricate webs of angular beauty as they do on "Dear Disaster" it's just not on the Mr. Bungle level,nor would that sort of thing really work with mood being established here.The Sleepy Time comparison is only a stab defining one element at some points I can hear a little Rasputina at others Murder By Death, namely the "Who Will Survive and What Will Be Left of Them " album.

The vocal blend on "All the Prisons part 2" confirms they have really created something unique here. At times the lyrics carry the indignant unease of post- punk, but the sound track they are set upon has the elegance that I'm always bitching about as being the x-factor that all these wanna be goth bands don't get. This gives them more emotional weight and at times makes them heavy in feeling rather than metal. At other times the lyrics have a romantic disillusionment. The two female singers are particularly stunning on "Dear Disaster".

The cello driven "Midnight Sun" strips away the multi layered sound that has prevailed thus far on the album. There is more of a rock feel to "Two of Pentacles".The vocal performance is one of the albums most impassioned.The guitar snakes along with a hunger that gives it an almost metal aggressiveness. The sequel to this song is a little more on the ethereal side.It should come as no surprise that I am going to go ahead and slap a 10 on this one. This album will appeal to a wide margin, fans of Amanda Palmer,Chelsea Wolfe, Rasputina, Sleepytime, as well as Agalloch's more chill moments will all find something to sink their teeth into. One of the rare album that achieves this kinda of dark beauty with depth the their songs. The first song I played for my girlfriend was "All Prisons part 2" and she thought it was just more of the droning drug music I like, so you have to listen to this as a whole work to really get the full effect or have been involved with heavy narcotic use for a period of more than five years. Do not play while operating heavy machinery.