Probably Smug.

Several months ago a small package from Ireland showed arrived in my mailbox without any forewarning. I was pleasantly surprised to find a little self-released EP from Síoraí Geimhreadh inside, who I imagine were referred to me by the gentlemen in Altar of Plagues. Short and concise, consisting of four tracks which clock in at over just half an hour, I then spent several months listening to it trying to figure out what to write about this humble release.

After my first few listens, several inclinations became pretty obvious to me. It is quite apparent at what mood the band is striving toward with implementation of a somewhat raw but warm feel in their production. Síoraí Geimhreadh obviously are not trying to pound the atypical black metal ‘evil and frostbitten’ feel into the listeners head, but rather a more tangible and earthy approach. This connects immediately with some influences the band isn’t shy about sharing, drawing directly from the school of Weakling and subsequently, Wolves in the Throne Room. This isn’t at all a bad thing, as I enjoy both of the aforementioned bands quite a bit, and I am of the opinion that somewhat young bands all need a place to start. Why who wouldn’t be influenced to write music with inspiration fueled by other great projects?

The instrument roster is very minimal in a “Local H sort of way” with nothing more than drums, guitar, and vocals. Song structures are not at all basic, and are one of the most promising things about Síoraí Geimhreadh. This is also another element that makes their reverence toward Wolves in the Throne Room quite apparent. However the songs are all well put together and rarely overstay their welcome even after repeated listens. What makes this EP so damned hard to review is that there’s something very special that is being created here, but at the same time I feel like there’s too much of a similarity to their influences. The main thing that eats me up about this release is that it’s almost TOO stripped down. The writing is full of conviction and passion, but it’s almost as if they’re missing opportunities to really create something which will separate them from the path they’re on and take them, and the listener, on their own unique journey.

The Solitude EP is something I very much appreciate, not only because it has challenged me as a reviewer probably more than anything I’ve ever written about, but because Síoraí Geimhreadh is a band that has great potential. If I could suggest any adjustments, it would to explore possibilities for further layering and try to deviate from the stripped down approach for too much longer. I’d hate to see this band go to waste by writing music that is much too influenced by others.

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Our review submissions office received a disturbing letter in the mail several days ago. Illegibly postmarked, the parcel was in dismal condition upon arrival. It appeared to have been water-damaged as well as crumpled and ripped in numerous places. Several specialists were called in to consult, but were unable to reach any definitive conclusions about the author of the letter or its import. We did learn, however, of the existence of a “research facility” (heretofore only hinted at by our consultants) in the northern hemisphere that it could possibly have originated from, although further details were purposefully vague. We were mandated in no uncertain terms to keep the contents in the strictest confidence, but we at Probably Smug feel that what was written has implications vital to all, not just a select few. Therefore, we’ve cleaned up and repaired as best we could the letter itself, and present it to our loyal readers, in all its fevered confusion. The “specimen” under review is identified only as “WRNLRD“, specifically an element of that entity cited as “MASK OF HATE“, though we are still unclear as to what that refers. Please contact us if you have any clues or insight to offer into this mystery!

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WRNLRD MySpace
WRNLRD Website

WRNLRD - In From The Night Herd

Self-released in 2007, In From The Night Herd is the third full-length from WRNLRD, a nontraditional one-man black metal project out of Virginia. This album is an intense, considered exploration of dark ideas inspired by Cordwainer Smith’s 1961 story, “A Planet Named Shayol.” The depth of sound and somber vision of this 30-minute experimental album can be better appreciated with a reading of this story. “Shayol” is Smith’s twisted version of hell: a desolate planet where people are enslaved as organ growers, their bodies painfully mutated and kept alive involuntarily with the help of a powerful drug. Stripped of their ability to hope or dream, the victims in this story form “herds” that wander in eternal delirium while their organs are periodically harvested to sustain life on other planets. The hopelessness of the planet’s inhabitants and Smith’s grotesque imagery are communicated in this story with startling clarity and poignancy. Divided into two parts approximately 15 minutes each, In From The Night Herd conveys a parallel atmosphere of pain and oppression that succeeds in becoming its own monster. The album makes excellent use of programming, acoustic guitar, bass, vocals, fiddle and mouth harp to create an ongoing struggle between hostile noises from without and a fragile, sentient voice from within. Acoustic instruments and percussion are used sparsely, and buried vocals are difficult to distinguish.

Beginning with the short opening track, “Pain Planet,” the album unfolds like a weird dream on a dark planet floor. Deep, plane-shifting vibrations, strange banging, pulsating tones ringing high and low, distant sounds of wind and creatures, and obscure vocals all add to an eerie cacophony heard as if beyond a dreamlike veil. In the face of this looming wall of ambience it becomes impossible to hear every sound happening simultaneously, yet throughout the album no sound seems to repeat itself.

One can find several American influences on this album, some coming specifically from the West. One is the album’s title, also the title of a 1907 painting by American artist Frederic Remington that depicts a night scene from the Old West. The painting aptly mirrors the dark, uneasy feel of the album. Additionally, the word remuda in the track titled “Black Remuda” refers to a herd of horses that ranch hands use to select their mounts (the idea of a “herd” also finds its echo in Smith’s story). The persistent sound of wind on the album suggests wide open spaces, the kind that can be imagined as part of the bleak desert of Smith’s Shayol as well as North American prairies. In addition, a fiddle is played on the title track, an instrument typically used in American roots music such as bluegrass.

On tracks such as “Black Remuda,” an acoustic guitar enters with a pensive melody played one note at a time, seeming vulnerable in contrast to the surrounding noise that threatens to swallow it up. The fiddle on the final track whines with a high, keening melody played slowly and deliberately. Like the acoustic guitar, its wistful voice is nearly lost within the noise. The acoustic instruments narrate their own path through an unforgiving environment with plaintive notes that seem to cling to a thread of memory and sanity. The artwork appropriately mirrors the feel of the album with shadowed, enigmatic forms that can be glimpsed but not easily defined. Revealing more with each listen, Night Herd is an exceptional album that is both disquieting and thought-provoking.

Paysage d’hiver seems to have gained a great deal of noteriety after the emergence of Darkspace, Wintherr’s collaborative and live project with two musicians. Regardless of how excellent Darkspace is, Paysage d’hiver is certainly Wintherr’s baby.

Winterkaelte is his seventh release, and is the lengthiest, clocking in at just over 90 minutes, to me it is the crown jewel of Paysage d’hiver. This is not only because of its immense length in comparison to other releases past and present, but because it explores every realm of style of atmosphere already created by the past releases thus far. While I understand why some do not like this project, there also is a great deal of reason for the reverence toward what is created under this moniker. Clearly Paysage exists as a pure devotion to winter and everything it entails, both externally in the natural world, and internally upon the soul. To me there’s a dualism that is unfounded when experiencing the minimalistic atmosphere that, with the right headphones and approach, can send the listener to a completely frozen and lonely landscape where the only conflict they face is the aforementioned incarnations of, and the fierce beauty known as winter. Not only is the atmosphere extremely effective, but it is so integral to this project that it inescapably defines Paysage. Like all well written black metal, this atmosphere relies so heavily on the guitar, vocals, and drumming and they work together in such a way that the absence of one would weaken the rest of the elements incalculably.

The variety on this album is also one of the major strong points, and since this is a 90 minute release, these variations are obviously necessary so the listener’s attention won’t wander off because the songs are blending together. That is, if the listener already has the attention span to enjoy six tracks that range between ten and twenty minutes in length. An example of this variety makes its self very obvious right from the start, where the first track, “Ich Schreite” is fast and relentless with traditional black metal tremolo (underneath a great deal of atmosphere of course) for almost the entire course of the track. The second track “Ich Starre” cuts the tempo in half and primarily utilizes plodding power chords and vocals that, while screamed, are expressed in a pattern of normal speech to match the tempo rather than the equivalent of scat singing in an effort to keep up with traditional black metal tempo.

Minimal is one way to describe the experience created here, but I don’t think it’s entirely fair. The raw and violent production qualities certainly create a great deal of dense buzzing and even the possibility of illusionary melodies that may or may not exist under the noise. Each track is accented tastefully with varying additional instruments, making whole and complete tracks that can stand on their own two legs, rather than relying on neighboring tracks as well. This is something of a respectable feat in my mind, and although I am the type of listener who simply must sit through an album from start to end without interruption, and I have a deep appreciation for “themed” or conceptual albums, I think it’s important for tracks to be able to stand up among the rest in order to have any lasting appeal or longevity. Considering the notorious length of Paysage tracks and the commitment it takes to listen to them attentively, I can only applaud Wintherr for this achievement.

After the sludgy journey of track two ends, “Einsamkeit” rises from the permafrost with a group of male chants holding a single repeating note that exhales from their lungs as a higher pitched feminine voice carries and wanders throughout. This again is one of the many moments that might bring a listener back to this specific track in order to experience moods conveyed through this moment, or one to look forward to thanks to moods created from the transition to this moment. As this ends, the track is halfway through its fourteen minute duration and the ever looming DIY cassette recording of feet trudging through deep snow in a blizzard returns again making its prominence felt entirely because it lasts for the remainder of the track. This somewhat separates “side a” from “side b”, if you will, giving a serene break and a chance for clarity among the devotion to winter’s acrimony. Though these blizzard hike samples separate all of the tracks tastefully, it is beneficial to also have this here as an interlude for, if anything, a chance for the listener to prepare themselves for the remainder of Winterkaelte.

The second half is arguably more relentless than the first, but probably also uses a bit more harmony and melody in the riffs and other accents such as flute and acoustic guitar. Almost straightaway “Winter” lays down a backbone riff with some intertwining melodies but is quick to be broken up by an absolutely incredible moment about seven minutes in with thunderous percussion that to me, could only be done by a long drum. It resonates so far and wide between each sparse hit and the same flute melody that was introduced only a few minutes prior laying the ground work for one of my most favorite Paysage moments. This track, so aptly named, is certainly the focal point of the release, which in turn could be the centerpiece to the entire purpose of Paysage d’hiver: reverence and awe towards the beauty and destructive power of winter. Through the lyric translations I’ve read, I get the feeling that Paysage intentionally steers away from most Swiss folklore and instead remains very personal and mostly devoted to the proprietor’s feelings. Even though I have a great deal of interest in folklore and its influences on metal, I find this difference to be refreshing simply because the music created is very isolated and clearly created to be experienced only in solitude - so why include tales of old Gods and cultures when they’d likely detract from the potential personal relationship created here already?

Appropriately, the final two tracks are the most furious of the six, and though the fifth track, “Eintritt in die Sphaeren” is certainly the most concise and implacable of the two, it is track six that I always find myself getting most excited to hear as Winterkaelte progresses. Much like the third and final act of a play or the final conclusion to a movie, “Finsternis” has such a stark grasp of beauty and really embodies my love and appreciation for not only Paysage d’hiver, but also black metal as a whole. Separated into three parts, this track wastes no time getting straight to the point with as-expected pummeling brutality and vocals that while are apparent, seem a bit more washed out than previous tracks creating almost a distorted gargling effect. Though there are lyrics, one can only wonder how much they are actually being annunciated. As the vocals fade in prominence the riffs almost instantly transform to a galloping strum pattern with snare hits switching to more manageable blast beats to match. What makes this song so special to me isn’t the brutality, and it isn’t even the three plus minute frost-laden acoustic interlude (with an absolutely wonderful guitar feedback ring to introduce it) smack dab in the middle of the track. No, it’s more the appropriate placement of everything. This song is written like it knows beyond a shadow of a doubt that it is the swan song of Paysage d’hiver’s longest release. It covers every mood effectively in a matter of almost fifteen minutes, but never loses sight of its purpose or place. Because of the headstrong manner in which this track was written, and the absolutely exceptional journey it alone takes me on, I can’t help but feel… giddy every time it starts.

A few times I’ve been asked why I like metal so much. The only way I can think to respond is by stating that because the style is so extreme, literally anything is possible with it and it has no boundaries. It effectively infuses both unrelenting brutality with awe and wonderment in such a way that it is one of the few genuine experiences of beauty I can willingly return to at any time I feel necessary. To me, black metal has pushed the envelope beyond any other expression of art that it defies any other element to modify it, but it instead absorbs said elements creating its self into an ever evolving (albeit slowly) and forward thinking form of art. These experiences of awe and wonderment I feel in the back of my throat and the pit of my stomach when listening to Winterkaelte, or Paysage d’hiver, or selective black metal choices in general will probably always be an uncontested experience for me.

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Cormorant
The Last Tree (Independent)

01. A Dance Of Elk Entwined
02. Rain Follows The Plow
03. Trojan Horses
04. Two Brothers
05. Ballad Of The Beast

California three-piece Cormorant storm out of the gates with their debut EP The Last Tree, sure to please fans of melodic, groovy death metal. An immediate comparison would be to the hefty grit of Amon Amarth, but though Cormorant takes the meaty Swedish sound as their blueprint, their songwriting has just as much in common with American troubadours like Dylan as it does their European metal counterparts. Cormorant (consisting of vocalist/fretless-bassist Arthur von Nagel, drummer/pianist Brennan Kunkel, and guitarist Nick Cohon), although still a fledgling band, bear watching if this EP is any indication of their future direction.

The album kicks off with “A Dance Of Elk Entwined”, certainly the catchiest of the five cuts and one that immediately recalls the aforementioned Amon Amarth. Beginning with a gritty guitar sound that wouldn’t seem out of place on a desert rock album, the song quickly segues into the memorable riff that forms the spine of the song. This song contains one of the best uses of phasing that I’ve heard in recent years, a technique that falls under the “less is more” school of sound design. “Rain Follows The Plow” is up next, with a nice ascending/descending riff about halfway through and a tasteful guitar flourish at the end. “Trojan Horses”, however, is where the album really begins to impress. The song features solid bass work throughout, and has a good sense of movement and progression. The headbanging starts in earnest about three minutes in, when Kunkel rips into a black metal drum blast that morphs into a mid-paced groove. Cohon shines on this track with his two brief but extremely well-written solos (very heavy metal), riffing over von Nagel’s repeated chorus: “Conception/Deception/Damnation/Ride”! The end of the song sees von Nagel approaching a greater vocal range, punctuating his growls with gruff, clipped shouts. “Two Brothers” is next, showing off von Nagel’s bass work throughout the thrumming, bouncy track. There are some ill-advised screams that close the song out, and while they don’t sound too great, they’re thematically appropriate in the context of the lyrics. The album closes with “Ballad Of The Beast”, by far the best and most forward-thinking of the five tracks. This song exhibits a strong sense of space and dynamics, with well-placed guitar flourishes and the best vocals on the album. The piano/rainstick outro and the dialogue between the female/male vocals nears greatness, and is again thematically apropos.

Mention must be made of the lyrics, far and away the most impressive aspect of the album. Von Nagel affects the role of storyteller throughout — his lyrics are eminently readable, erudite, and engaging (bonus points for use of “kakistocracy”), certainly leaps and bounds beyond the laughable high school notebook scribbling that passes for most lyrics in metal. The subject matter covers everything from the tribal hierarchy of wildlife, to 19th-century “Manifest Destiny” ideological push, to Biblical reworkings and the Spanish Inquisition. The artwork is also stunning for a band that funded this release entirely by themselves — a comparitively elaborate digipack, pro-pressed CD, and fabulous photography courtesy Johanna Kallin (whose photograph “The Lonely Tree” perhaps served as the titlepiece as well as the cover of this EP) and Per Velentin.

This EP is evidence of a band refining and tweaking an accepted European style into something more American and personal. While they still have technical kinks to work out — the kickdrum is much too high in several of the songs, the fretless bass is often lost in the mix, and von Nagel’s growls are often mixed far too low to be properly understood (a shame with such great lyrics) — Cormorant have proven with The Last Tree that they are capable of not only musical dynamism and engaging songwriting, but also sophistication without hubris; a rare bird, indeed.

Standout tracks: “A Dance Of Elk Entwined”, “Trojan Horses”, “Ballad Of The Beast”

Cormorant MySpace
Photographer Johanna Kallin
Photographer Per Valentin