Dream Unending and Hand of Kalliach: Two 2021 Metal Debuts I Missed

There’s so much metal out there… seriously. The underground market is even larger, and as a blogger who likes to highlight obscure stuff, I feel pretty overwhelmed. I missed a lot of metal debuts last year, and I’m already behind on debuts from this year. Let’s catch up by discussing two of those debuts from 2021!


Dream Unending: Tide Turns Eternal

I don’t know much about Dream Unending except that it consists of vocalist/drummer Justin DeTore, and guitarist/bassist Derrick Vella. One member is from the States, and the other Canada, but Encyclopaedia Metallum doesn’t say who’s from where. Also, they’re so edgy that they don’t even have a Facebook page; the only way to follow them is through their label, 20 Buck Spin.

I usually dislike album cover art that looks awful, especially since a lot of the REALLY popular bands have awful cover art for some reason (I mean, look at Zeal & Ardor’s self-titled album for example. Two hands suspended in a white void, whoop dee doo). However, despite how awful Tide Turns Eternal looks at first, I found myself unable to look away. It’s incredibly fuzzy, with only three colors. Yet… there’s just enough there for the brain to vaguely form a sense of composition. I hate that I have no idea what I’m looking at, and that’s why I’ve come to love the artwork. 

I knew that Tide Turns Eternal was going to be a trip (also, take a shot for every paragraph I start with “I”), but it threw me for a loop minute one. Even with all the contrasting dualities that I’ve heard, Dream Unending is utter tonal whiplash. I don’t know what to call those riffs that are reminiscent of late 1960s acid rock, but that comes up just about as often as the doom metal subgenre’s signature deep guitar riffs. 

I don’t like the late 1960s era, but I was hooked on Tide Turns Eternal despite that. People love using the hyperbolic word “otherworldly”, but sometimes, there’s no other way to describe something. This record is a groaning, melancholic experience. Every track has a memorable and ominous atmosphere.

I have heard death growls in a myriad of ways. People can really draw them out, screech like banshees, and even rap in this style. However, DeTore taught me that… you can whisper in death growls? This man’s voice is scary in the best way possible. Instead of just trying to sound like a ravenous pig (apparently, that’s deathcore territory *shivers*), he uses the aforementioned technique to prove the deceptive versatility of extreme vocals.

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Final Verdict: 9.4/10

It’s amazing how fast I’ve gotten acclimated to metal. I go from resenting extreme metal, to now having my Top Three 2021 debuts all being extreme metal, with Tide Turns Eternal in third place (the moles in Earthbound would be proud). This album… just wow. Like with IOTUNN, I should’ve listened to it much sooner than when I did. Tide Turns Eternal truly is a dream unending. Even if you’re off-put by extreme metal, I recommend you give this a try; it’s just that unique and bizarre.


Hand of Kalliach: Samhainn

I know nothing about Hand of Kalliach, other than the fact that they are a husband and wife duo. Sophie and John Fraser hail from Scotland… and that’s literally it for what I know. Hooray for the underground! Oh, here’s one tidbit I learned: I don’t know if it’s the sole purpose of the project, but they supposedly donate some amount of their proceeds to a charity that they support. Follow them on Facebook for details (#notsponsored)!

I love the cover art… whatever it is. It looks like a wizard on a robot horse riding on a turbulent sea? Oh wait, that’s his left arm, not a horse’s head… In any case, I’m no doubt off the mark with this art, but that’s the thing about art; the emotion felt by the viewer. And the emotion I felt was anticipation for what Hand of Kalliach had to offer!

The thing I’m used to with folk metal is for there to be, well, folk instrumentation implemented with the metal sounds. Hand of Kalliach, however, doesn’t even have one bagpipe pipe. Despite that, however, something about it screamed “folk metal” to me.

Or rather, it growled “folk metal”, for Hand of Kalliach is a death metal band at its core. Don’t worry though; they’re not old-timey violent death metal. If anything it’s melodic death metal meets atmospheric black metal, kind of like IOTUNN, the otherworldly new prog-metal band whose debut I covered not too long ago. In a similar sense, the music is thunderously heavy, but there’s still a strange melancholy to the overall sound.

Of course, just because I’m comparing them to IOTUNN doesn’t mean the two bands are anything alike. In fact, “apples and oranges” couldn’t be a more apt analogy here. Hand of Kalliach, like I said before, manages to scratch that folk itch with pretty much no help from actual folk tradition. I honestly don’t know how they did it, except they did it, and REALLY well at that. Every track on Samhainn slaps with a whimsical and heavy atmosphere that I haven’t quite heard anywhere else.

The vocalists really tie the album’s sound together. Yes, vocalists. Most of the singing is done by John, who takes the role of the growler. He sounds like a feral beast, and sadly, isn’t as fluent as others I have heard. However, I didn’t get mad at that for some reason, like I did when I first heard Behemoth’s Nergal (I know it’s a hot take to not like Behemoth, but that’s just me; a butt-load of hot takes!). For some reason, his growls just worked, and I can’t imagine Hand of Kalliach without him. Same goes for the wife, Sophie. Her clean vocals are delicate and flow like a gentle stream, forming a perfect contrast with her husband’s savage growling.

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Final Verdict: 9.45/10

Hand of Kalliach proves both the versatility of extreme and folk metal. I believe Samhainn is a masterpiece, second only to IOTUNN’s Access All Worlds for my favorite 2021 debut. If you aren’t too off-put by how damn heavy it is, I highly recommend giving the record a spin.

Heavy and Colorful: A Look at Diversity in Metal

Metal has come a long way from leather-clad men with crazy hair. It’s a living entity that’s constantly growing, and has even come to welcome those in marginalized cultures. With all this color mixed in, the genre has exploded into a rainbow of infinite creativity. Let’s go over a small trickle of these diverse bands.


Wagakki Band

As a weeb, I have to start by discussing a Japanese band. Early on, all my music posts were exclusively about Japanese bands. And if I had to pick one for this post, it would be Wagakki Band.

Since the early 2010s, this group has combined the gentle beauty of traditional Japanese folk music with that of Western rock and metal. Despite the duality, this combo works really well. They’ve gotten enough acknowledgement to be allowed a collab with Amy Lee from Evanescence in 2020 (even though I think Wagakki Band is better than Evanescence and the honor should be Lee’s). 

The problem is that they’re a bit inconsistent with their style. Even during the course of the same album, their musical style has ranged from folk metal to folk pop, the latter of which completely abandons Western instrumentation and has simplistic, easy melodies. Their newest work, 2021’s Starlight EP, is the lightest thing they have ever released. As they become more popular internationally, I worry that they will be forced to sell out and not be metal in the future. But I guess we’ll never know until their next full-length album comes out!


Living Colour

I was reluctant to listen to this band, considering the searing nature of their lyrics; however, I gave them a try. Living Colour, known for their first hit single ‘Cult of Personality’, is an iconic example of a band consisting entirely of Black men, which was very rare at the time, since a lot of metal bands only had White guys. Beyond that song is a discography spanning six full-length albums in an ongoing career of over three decades, and they’re working on new music right now. 

The band combines funky fresh beats with hot n’ heavy metal. Naturally, a lot of the lyrics are sociopolitical commentaries on America, and—of course—racism is involved. The lyrics are brutally honest and, well, brutal. Living Colour is the only band to have me break out into uncontrollable sobbing. The song in question is ‘Flying’, their tribute to the 9/11 attacks. Of course, the rest of their stuff doesn’t slouch. Their newest album, Shade, is my favorite work from them thus far. Given the past couple years, expect their next outing to be brutal.


The Hu

Due to my anxieties discussed in the New Year’s update, I might have BS’d myself into loving this band. In fact, you probably heard of them, since they are hugely popular worldwide (based on what I read about them). Regardless of if I should like this band, I’d rather listen to The Hu than any popstar.

The Hu are from Mongolia, and incorporate the corresponding folk traditions into their music. However, the fusion between Eastern and Western is very loose; there really aren’t any electric guitars at all. Despite that, the musical style—using the Mongolian instruments—is undeniably that of Western rock. Although considered metal, The Hu really aren’t “heavy.” The songs are very catchy, and definitely feel a lot more like Mongolian rock n’ roll than folk metal.

But for whatever reason, I find myself captivated by the band, even though, as a pure metalhead, I shouldn’t be. The singing techniques sound really cool, and the instruments are neat to boot. Maybe they’ll get heavier when they follow-up their debut album, The Gereg, but we’ll never know until that next album comes out! 


Myrath

I had zero African bands on my docket for the longest time. The only African band I had heard of was South Africa’s Vulvodynia, a super duper violent death metal outfit; no thanks! I wanted African folk metal, but there were slim pickings. Of those pickings was Tunisia’s Myrath, and while not exactly what I was looking for, I ended up developing an interest in them all the same.

Incorporating Middle Eastern instruments, Myrath is a brilliant progressive folk metal band, although they lean toward the Western end of the fusion. Their style gradually shifts toward power metal (as shown in the embedded MV) which might be off-putting for some, but the songs are still fire, so it really just shows the band’s versatility. 


Alien Weaponry

Alien Weaponry is one of the more recent examples of metal being used as an instrument to fight for civil rights, and quite a successful one at that. This New Zealand outfit is descended from said nation’s native people, the Maori. Sadly, New Zealand’s British-run government has been systematically stamping out what little of the Maori remain (read this article for more details). With metal, Alien Weaponry seeks to represent their heritage and raise awareness of racism.

Unfortunately, I found them to be my second least favorite band on this post. The songs in which they incorporate their Maori language are great; they have a tribal and barbaric sound (which is exemplified by the fact that they perform with no shirts on). However, that’s only half the battle. A lot of their music is sung entirely in English, and when they do this, Alien Weaponry seems like a completely different beast. While the lyrical theme of racial injustice is still part of it (albeit in a different language), the all-English songs feel very contemporary and garden-variety by comparison. I usually do a three album rule if I can at least see potential for the band to grow (a rule that may or may not have been inspired by the notorious three episode rule for anime), so I’ll keep my eye on them for now. As it stands, Alien Weaponry is a pretty typical Western-style outfit with a Polynesian paint job.


Voice of Baceprot

This young Indonesian outfit seems to be the most popular band out of everyone on this post. Of course, they happen to be my least favorite as well. However, that’s not a particularly fair assessment since they have only two singles and several covers of early 2000s metal songs that I don’t like. 

What makes them attractive is that they are seriously young; I think they’re still teens. They’re also all girls who practice Islam, which apparently forbids music (at least where they’re from). VOB has become insanely successful, not only gaining a large swathe of metal fans, but the favor of political figures as well. Their critics, on the other hand, are so passionate as to threaten the girls’ lives. I don’t mean they are Internet trolls; these people have made actual, cruel attempts to murder the members of VOB.

I wanna support them, but what they have put out so far doesn’t impress me. Voice of Baceprot sounds like a very basic hard rock band. Their lyrics are definitely heavy, but the music just doesn’t accommodate. Regardless of what I think, people love them, and I’m willing to bet that a potential full-length debut album will be the most anticipated metal debut of the decade; likely the one thing that can dethrone Spiritbox. You can give them a try I guess. If you watched the embedded music video, you’ll have already heard 50% of their discography anyway.


Whispered

Okay, so this is the most unorthodox band I have on here. I have included Whispered only  because I want to bring up the concept of “cultural appropriation”. Like Wagakki Band, Whispered incorporates Japanese folk into heavy metal. Unlike Wagakki Band, Whispered are from Finland. 

I read up on cultural appropriation, and I’m afraid that Whispered might fall under it, and their very underground status is probably what’s kept them from any upheaval. The music is really good, basically a more extreme version of Wagakki Band, with that over-the-topness of European metal. It’s actually a really, really good band. I’d almost say they’re better than Wagakki Band. They incorporate the rare fusion of melodic death with power metal, and have taught me that Wizardthrone was not at all the first band to do it (in fact, Whispered would make a perfect replacement for them if they were to disband).

Whispered is taking its sweet time, with only three albums out in the course of a decade, and no set date for the fourth album has been confirmed. The lyrical themes are mostly bushido stuff, and sometimes cover Japanese mythology, but both check out based on my own knowledge of the culture. 

I don’t really know the nuances of cultural appropriation. The first and foremost thing is that it’s supposed to be offensive, but how do you know for sure? When I read up on it, I saw one example of Justin Bieber being accused just for wearing dreadlocks. Maybe he was wearing it “wrong(?)”, but I don’t know how you can be racist by wearing a cool hairstyle. Whatever the case may be, I’m concerned that the current mindset on racism will make it so that only people of a given ethnicity can be inspired by the corresponding culture. That sounds like the opposite of what needs to be done to me.


Arka’n Asrafokor

Despite the massive burst of inclusive media, there’s still a long way to go. As I mentioned before, I wanted African folk metal, specifically that of West Africa; the kind that’s represented at Disney’s Animal Kingdom and Animal Kingdom Lodge. Togo’s Arka’n Asrafokor is the first band that came up when I searched, and according to what I’ve read, they’re the only metal band from Togo to begin with.

Like many underground units, they need time. Since its formation in 2009, the band has only released one album—2019’s Zã Keli—under its old name, ARKA’N. The album isn’t just novel; it slaps. As it says on the tin, it is a fusion of metal, and those old-timey African vibes. Using English, French, and their native Ewe, there are a lot of different vocal performances you’ll hear. I particularly love when they harmonize in the latter. 

According to my research, Zã Keli was very well-received when it came out, and most people who’ve listened to the band are already devoted fans. However, the fact still remained that I needed to Google Search this specific type of music for me to find them by happenstance. From what I read about them, the process of finding the necessary equipment was exceptionally difficult where they’re from, and that would probably explain why the album took so long to make. I hope that the stars will align with them in the future, because this is a band I want to see become more mainstream. While a lot of the diverse stuff in the mainstream emphasizes how great each culture is, they don’t really showcase either of those cultures “together”, if you catch my drift.

Unfortunately, it really seems that Arka’n Asrafokor is one of a kind, not just in Togo, but the world. Like I said, this is the only result I got for “African folk metal”, and that makes me feel sad. I wish this band takes over the world going into the 2020s. PLEASE.


Conclusion

We have a long road to travel to reach racial tolerance. In the meantime, these bands—and many more—are here to stay and won’t take no for an answer. Maybe someday, metal will remind us that we’re all human beings. If not, then pop will probably take that mantle instead. Hopefully, you’ll have been encouraged to broaden your horizon of music!

This Town Ain’t METAL Enough for the Two of Us: Untamed Land — Like Creatures Seeking Their Own Forms Album Review

These days, it’s easy to assume that America’s culture consists mainly of racism, memes, and failed promises. However, this nation—as much of a zoomer as it is—has about two centuries of history, and thus, about two centuries’ worth of culture. And one extreme metal outfit known as Untamed Land has set up a roaring campfire in the wild west, ripe for some Americana storytelling. 

Untamed Land hasn’t been around for too long. The band was founded in Ohio by Patrick Kern, and—like Mammoth WVH—he’s the only member. Today’s album review is of its second record, Like Creatures Seeking Their Own Forms. I already listened to its debut, 2018’s Between the Winds, and I was sold pretty darn quickly. Let’s see if the follow-up, well, follows up.

Most atmospheric bands I’ve seen have very hand-painted-looking, beautiful cover art of landscapes that don’t at all look like it would belong to an extreme metal band. That is also the case with Untamed Land’s previous album art. Like Creatures Seeking Their Own Forms, however, is a lot different from that. It’s darker, with a sketchy, cross-hatching-covered aesthetic. The Neanderthal-looking dude in the center is kind of creepy, but the background art has a weird, abstract beauty. Something about the red sun on the right, contrasting the weird castle-looking structure on the left… I don’t know. I just love how it looks.

In terms of the basic style, Untamed Land has what you expect: a lot of riffs, the “duduholaduhdoladuhdola” guitar thing, and some “AAAAAAAH!” screechy vocals (those are professional Layman’s terms, btw). And to be honest, THIS is the band I should’ve compared to Sojourner, instead of Stormruler. Like Sojourner, Untamed Land is slower and more ambient.

But what’s different from Sojourner is, of course, the actual theme. In addition to the essential metal components, Untamed Land uses… er… crap, I have no idea what the instruments I’m about to describe are called, so I’ll use my professional Layman’s terms again! If you’re familiar with Clint Eastwood and High Noon, you’ll recognize the very U.S.-Western-style saloon piano, cowboy trumpet, and twangy string instrument (see? Professional!). But as novel as these additional instruments make the band sound, it feels like they come from a synthesizer. I’m not so hard on that, since the intent gets through well enough.

Like Creatures isn’t just the same thing over again; in fact, as with the cover art, it’s much darker than its predecessor. While the previous album feels like a cowboy shoot ’em up starring Clint Eastwood and Daniel Boone, this album—by comparison—feels like telling ghost stories by the campfire. However, the more somber theme doesn’t make it less epic; expect the same extreme riffs, rumbling drums, and very un-cowboy-ish growling.

If there is any tangible flaw with this album, it’s the record’s short-lived-ness. Despite it being considered full-length, it’s really an EP; there are only seven tracks, two of which are shortened versions of existing tracks. I don’t want to sound like that guy who’s all “NEXT ALBUM WHEN”, but the fact remains that this was a three-year wait following Between the Winds; I can only assume it’ll be a similar case in years to come. With less than twenty tracks total in its discography, coupled with the band’s novelty, expect new music withdrawal to hit fast.

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Final Verdict: 8.8/10

Yeeeeeeeeee-haaaaaw! Untamed Land has proven itself to be one of the most novel and underrated metal projects in recent years. And not only that, I feel like I’ve learned a little bit about the nation I was born and raised in. Recommending it now is a hard sell right now because there isn’t much, but what is there is worth its weight in California gold. I reckon you’ll like it if you give it a chance!

Where Has This Band been All My Life?!: IOTUNN — Access All Worlds Album Review

One thing I’ve learned about extreme metal is that it’s become about as varied a subgenre of metal as non-extreme metal (the problem is that they tend to be overshadowed by classic death metal bands, who happen to have X-rated imagery and lyrics, but that’s a topic for another day). IOTUNN is one such extreme metal band that has a bit more novelty than, say, Cannibal Corpse. There are two reasons why I was drawn to their full-length debut, and the first is its cosmically awesome name: Access All Worlds.

The second reason is the album’s incredible artwork. I never thought I’d want to stare at a giant man bathing in a planet for so many minutes, and to be honest, I could stare at it all day. The artstyle itself is very appealing as well, since it reminds me of old-school science fiction book covers.

I’ve literally had to keep the band’s Facebook page open as I typed this paragraph in which I introduce the band members. That’s because they’re from Denmark, and have names where I need to insert a lot of special characters in order to spell them out properly. Rambling aside, IOTUNN consists of vocalist Jón Aldará, guitarists Jesper Gräs and Jens Nicolai Gräs, drummer Bjørn Wind Andersen, and bassist Eskil Rask.

Access All Worlds incorporates familiar elements of prog and extreme metal. Most of the tracks are incredibly long, as you can expect from the former. This might just be because the band is new, but I don’t find that to be a problem this time. When it comes to IOTUNN, it feels like they know how to intersperse singing and different instrumental sections in the right way to keep you on your toes (unlike some of the newer Iron Maiden tracks). The riffs are also very atmospheric, similar to bands like Sojourner, which makes the longer songs engaging in that same manner.

But despite me describing the music as “atmospheric”, IOTUNN is actually VERY loud. The guitars have a commanding presence, with crunchy roars that feel as heavy as vanilla death metal bands like Behemoth. The fact that such forceful music can also be described as atmospheric—scratch that, I’d call it spiritual—is really impressive, and show’s extreme music’s versatility. Of course, there’s no shortage of songs that go all-in, such as ‘Laihem’s Golden Pits.’

Also, is Aldará the one and only vocalist? Because it feels like there’s three different ones on this record. Throughout Access All Worlds, you’ll hear raw, throaty growls, gravelly shouts, and very operatic clean singing. With an echo effect to make them sound more cosmic, I was enthralled by all three of these performances. If it really is all one person, then I’ll be triply-impressed.

And of course, prog isn’t worth salt without strange and interesting lyrics, and IOTUNN delivers. If you watched the embedded MV, you’ll see that the theme of this album is sci-fi, but describing it as just that would be a disservice. They each tell a story, most of which involve space travellers or some such finding a strange planet and being like “WTH is this, bro?” And according to their bio on Metal Blade Records’ website, it’s up to you to interpret the chronological order of the tracks, as well as what they’re about in the first place. 

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Final Verdict: 9.5/10

I would give Access All Worlds a perfect ten, but I didn’t want to set up an impossible standard for the band to follow-up with (also, I’d prefer to give their next album a higher rating than this one just for my own sake). While it’s not Wizardthrone’s nonsensical space opera death metal, IOTUNN has made something very special in its own right (and probably something I’ll grow to like more than Wizardthrone) that I feel deserves to be heralded as the best metal debut of the year. Anyway, I recommend Access All Worlds if you really wished there was a more extreme version of old-school prog bands like Yes.

PS: I’m going to Disney AGAIN! Will be back in early November!

Well, This is Interesting: Wizardthrone — Hypercube Necrodimensions Album Review

[Writer’s Note: This review was written and completed well before the incident regarding Christopher Bowes and the members of Gloryhammer. For those who don’t know, leaked private chats from four years ago have revealed the men to be racists and sexists. I do not want to open the endless debate regarding cancel culture, and at this time, their fate is undecided. After much deliberation, I have decided to leave the original post as is, but I at least acknowledge that I am aware of the controversy.]

When it comes to the very popular subgenre of metal known as death metal, certain household names come to mind: Cannibal Corpse, Behemoth, Children of Bodom, Arch Enemy, and more. Yet, being the uncultured, un-cerebral pig I am, I have yet to enjoy death metal at all. In fact, I only ever gave the second aforementioned band an attempt and I hated them. Since death metal has had such an influence on the metal community, to the point where most bands these days at least have a growler on backing vocals, I felt I had no right to be considered a metaller unless I could like a death metal band. And my most recent attempt is a new outfit known as Wizardthrone.

Wizardthrone entered our realm, in the midst of the ongoing, unholy pandemic. Sporting Jordi LaForge glasses, these wizards have graced us—unworthy as we are—with their presence… Their members’ first names are merely initials, and yet… one of these guys feels familiar. C. Hyperiax Bowes in particular makes me think of pirates and undead unicorns of war for whatever reason. Some individuals might glean other things, such as goblins, from specific members of the group. In 2021, they unleashed their first album, known only as Hypercube Necrodimensions; the topic of today’s post.

I normally despise death metal album covers for trying so hard to be scary that they look like nonsense. Fortunately, Hypercube Necrodimensions‘ art is legitimately awesome. The composition is exquisite, with a lovely combination of green and black. I can actually identify the image’s subjects along with its background, unlike other album artwork of this ilk.

It was my pitiful human brain’s fault for having any doubt in these wizards of death metal. Right off the bat, I was blown away by the incredibly intricate riffage that makes the subgenre appealing. However, Wizardthrone kicks it up a notch. In addition to the hyper-aggressive jams, they incorporate synth and symphonic elements as well. They even have a dedicated narrator. Hm… it’s like a more extreme version of Gloryhammer. I suppose that they could’ve learned from all three of their albums and made a whole album of their own in the brief time they’ve been in our dimension; they are wizards, after all (it’s not like at least one of them is actually IN Gloryhammer). 

If you watched the music video, you’d notice that their lyrics don’t have anything to do with death, murder, or various methods of torture. A lot of newer extreme bands have actually broken that stereotype (they just happen to be the ones that aren’t talked about enough), and Wizardthrone is one of them. They tell a lot of fun and nonsensical space opera stories, some of which pertain to the Wizardthrone they name themselves after. 

“Four billion years have passed and all we truly know is this” / “That astral deities still dwell within the deep abyss” / “Beyond the universal law of stellar entropy” / “Extra-galactic masters of mortal reality” / “The path we chose must soon me judged in kind” / “A quantum flux until the end of time” / “A black sun rising, the eldritch moon” / “Behold! Arise! Macrocosmic doom!”

Of course, these lyrics would sound like drivel if their vocalist wasn’t good at his job. Fortunately, that’s not a problem. With a more tenor and gravelly voice, Wizardthrone’s vocalist sounds both fluent and venomous. It must be really hard to have to speak our substandard, primitive language, let alone growl in it. Props to him!

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Final Verdict: 10/10

As much as I loved Avaland and VEXED’s debuts, Wizardhtrone’s Hypercube Necrodimensions both met and surpassed my initial expectations. I know this is a hot take, but I would definitely claim this to be the best metal debut—and my new musical obsession—of the year. It’s incredible how they’re able to make death metal that doesn’t sacrifice extremeness in favor of accessibility (as someone who’s listened to Behemoth, I can say that Wizardthrone is at least as heavy as them, if not moreso). Even if you don’t like death metal, I’d highly recommend Wizardthrone. I particularly think that Christopher Bowes, the creator of Alestorm and Gloryhammer, would love this band. Wait… Christopher Bowes… C. Hyperiax Bowes…? Nah, that’s impossible!

P.S. No post this Saturday. I don’t think I need to tell you why.

Take a Drink Every Time I Compare This Band to Sojourner: Stormruler — Under the Burning Eclipse Album Review

I have a story about the subgenres of black and death metal. To sum up, I tried Behemoth (who are both subgenres at once), who—hot take—I didn’t enjoy. But then, I found out that Christopher Bowes’ new band Wizardthrone would be a death metal band, and I would be inspired to try some black metal to get myself wanting to try Wizardthrone. I tried Sojourner before this band, and I actually really liked it. Unfortunately, they were bizarrely soothing, and not a good gateway to the super extreme stuff. Meanwhile, I had some interest in the brand new black metal band, Stormruler, most of which is the fact that they’re signed to Napalm Records, who have a great taste in bands. So yeah, if you’re reading this review of Under the Burning Eclipse, then that means I at least liked Stormruler enough. 

The hardest part of reviewing these bands is knowing enough about them to even post an overview of who they are! I’m starting to consistently listen to bands that don’t have Wikipedia pages. Thank Facebook (even if their page is unverified)! Stormruler consists of Jesse Schobel and Jason Asberry, straight from the U.S. of A. They’ve been in so many bands before Stormuler, that you can literally say that the lineup features members from three or more bands; more than the amount of members! 

Most black metal album covers look so intentionally fuzzy that I can barely define what’s on them. Sojourner subverts that trope, but Stormruler is more keeping in tradition. Fortunately, it’s not to the point that I can’t identify the artwork, and Under the Burning Eclipse has some great artwork. Simply put, it’s a badass knight on a… lizard? Horse? Lizard-horse? Well, whatever it is, it’s cool looking.

Upon starting the album, it is readily apparent that Stormruler and Sojourner are absolutely nothing alike. That does mean, however, that Stormruler is—at the very least—the band I needed to train me for Wizardthrone. They’re faster and do not incorporate clean vocals nor woodwind instruments like Sojourner does. But then comes the million dollar question: who is more accurate to black metal? The Wikipedia page for the subgenre mentions fast tempos and atmospheres, but Stormuler and Sojourner only check out for the former and latter respectively. Subgenres, man. SUBGENRES.

Rant aside, Under the Burning Eclipse is… a record? I figured that black metal is supposed to have intentionally bad sound mixing, but this has REALLY bad sound mixing. It’s almost impossible to hear the vocalist at all, let alone what he’s saying. Even Sojourner’s records are crisp and clear by comparison. 

And you know what, sorry to say this but, it’s almost good that you can hardly hear this guy. Whether it’s Schobel or Asberry doing it… I just… look, he’s not very good. I get that it takes talent to be able to dedicate yourself to growling (or screeching as it seems here), but—I sound like a broken record here—he’s not that good at it compared to other growlers I’ve heard. Based on the lyrics listed, some of the stuff he says doesn’t seem to match at all. Apparently, all vowels are the “AH” sound, and whether or not some syllables even need pronouncing seems to be a case-by-case basis. Is this normal for black metal? Sojourner’s Emilio Crespo doesn’t sound like this, and he sings the same style. Furthermore, guys like Gg6 and Mark Jansen from Amaranthe and Epica respectively sound perfectly fluent.

I sound like I’m complaining a lot, but Stormruler did end up growing on me. The songs are wild but not to the point where it’s straight-up death metal. The lyrics are also themed after fantasy and mythology, as opposed to your usual themes of violence and Satan. They also have a plethora of atmospheric interlude tracks to break up the action and make the album stand out. But to add one more complaint—which might just be something in character with the subgenre—the beginning of every song feels exactly the same, with the same fast drum beat and the “dudololololola-dudolololola” sound of the guitar. Wait, why did I bother trying to write onomatopoeia for the guitar if I was going to put the MV in the post anyway?

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Final Verdict: 8/10

Under the Burning Eclipse is a good album, but it’s not the most promising debut compared to others I’ve heard. Most black metal fans would probably tell me to try older black metal bands instead of one of the newest, but to clarify, I avoid the older black metal bands specifically because I figure that newer bands would’ve worked out the kinks by now. Plus, Stormruler is signed to Napalm Records, who are pretty close to my wavelength, meaning that I had a better chance of liking them than any of the “classics”. As far as recommendations go, I have no idea if a black metal fan would like Under the Burning Eclipse because I have nothing to compare it to. But if you’re thinking of getting into black metal for the first time—sorry, but—I recommend Sojourner over this (at least for the time being).