Wandersword – Waiting For War

Making its steps into the wider world, Waiting For War the debut album from Russian metallers Wandersword is a richly enjoyable firing up of the senses and passions. Released  in their native land last year, the album now gets a wider unveiling via Blasphemour Records and it is one of those releases which if it had remained hidden it would have been a crime. As with most albums there is room for growth and expansion of the already strong promise openly shown upon the nine track rampage of Viking, folk, and melodic extreme metal, but it is still a deeply satisfying and invigorating encounter which is destined to find plenty of devouring appetites.

The quartet of Wandersword riles up and recruits the emotions and passions with tracks which are musically impressively accomplished as well as imaginative and equally aggressive with the energy to bring blood and energy to the boil. With all songs sung in Russian, the album is a rousing and enthralling rampage which signs up the listener into its epically toned charge with masterful ease, the opening title track the blatant instigator and lead into the dramatic and stirring encounter to follow. The dawning ambience and narrative of the brief intro is the stuff of warriors and brewing civilisations, a peace and calm stalked by emerging grandeur of emotive and quarrelsome atmospheres. It is an evocative and descriptive piece, and though many bands now employ this type of beginning to releases, Wandersword make it work more potently than most.

First full song The Valiant Viking immediately is prowling and stirring up the senses, the heavy riffs, punchy rhythms, and sonic painting of the guitar an intriguing and beckoning invitation hard to refuse. The vocals of bassist Andrey Anikin are harsh and caustic to the ear, his tones not the easiest to engage with at first but a strong and effective antagonism to the melodic wash permeating the song. Muscular and direct in its intent, the track is a pleasing start if not quite the triumph the intro was suggesting, but undoubtedly is a welcome introduction with moments of irresistible temptation, like the galloping inspiring climatic flourish with its Cossack like energy and voice.

Scarlet Sunset opens on a peaceful warm scenic impression, guitar and warbling whispers bewitching the ear for the thunderous explosion of riotous rhythms and equally antagonistic riffs, both extremes merging with skilled enterprise as the track snarls and invades the senses. Again the vocals bring a moment of insecurity towards the track but into its stride the album soon proves they are not an issue, just a growling confrontation to learn to find a union with.

The release hits its first lingering highest plateau with Strange Ships’ Trail, the album getting stronger and more impressive the further into its battle you go. From the first note the song has a ravenous energy and anthemic hunger which drives and steers the passions with merciless strength and compelling passion. The rhythms of drummer Alexey Krasnov find their most punishing sinews whilst the bass of Anikin finds an impacting growl and predatory snarl which is contagiously addictive, and with the guitars of Alexander Manukhin and Albert Osmilovskiy as inventive and ideally adventurous as they are raptorial, the combination is an immense capture of the imagination and passions.

Next up Masters Of The World continues the elevated plateau, again an evocative and gentle warm welcome shaping its place in the ear before stretching its flanks into an intensive intimidation attached to mesmeric and elegant melodic beauty, all veined by rolling rhythms which chain and spark up the instinctive pleasures inside. Enflaming further the craving for what is on offer, the track steps aside for the outstanding and best track of the album Peaceful Guard to unleash its irresistible hex and dance. With the keys and orchestral pull of the song bringing a siren like captivation to the fore, the track expands upon it with scything riffs and rumbling rhythms whilst the melodies cascade from the skies of the song with magnetic radiance. It is a dazzling track with the guitars painting upon the fascinating muscular canvas, a descriptive inspiration and the keys simply a sense of joy and eagerness to the battle of the heart of the track.

Both 40 Warriors and Northern Gates rage like thunder across the ear with strikes of melodic and ingenious flames spearing their excellent fields whilst the closing cover of Russia, a track originally from a band called Purgen, is one more piece of unreserved pleasure to eagerly consume. Waiting For War is a tremendous album and one sure to light up the passions of a great many with its re-release. It is a battle cry from Wandersword which could grace any field of battle and inspire greater determination.

https://www.facebook.com/Wanderswordband

8.5/10

RingMaster 18/04/2013

Copyright RingMaster: MyFreeCopyright

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Frost Giant: When Myth and History Merged into Mystery

Though it has been out a few months digitally and now physically, When Myth and History Merged into Mystery the debut EP from Pennsylvanian rock band Frost Giant has only just surged to our attention and thank goodness it has as to miss something this good would have been a travesty. Forging a sound from a merger of Viking metal and nineties hardcore, yes you read that right, the release is simply sensational. It is wholly unique and works on every level for an encounter which is engaging and thrilling. It just ignites the heart and recruits the senses into a full and energetic compliance to its imaginative and insatiable storm.

Formed by vocalist/guitarist Matti Frost in late 2005, Frost Giant has been a solo and at times a full band project merging European folk metal with melodic hardcore and So-Cal infused punk rock.  It is a stunning sound which can be best described as Tyr and Korpiklaani in a drinking contest riot with Biohazard and Agnostic Front whilst the melodic cheers of Billy Talent and Lagwagon egg them on. It is an exciting and stirring mix which offers great diversity and originality and the EP which basks in it, easily one of the best releases this year.

Released through Blasphemour Records, the release finds Frost joined by guitarists Jonathan Smith and Scott Breustedt, bassist Jason Esbensen, and Rich Berends on drums, and consists of five slabs of muscular delight which take no time in lighting up the ear and beyond. First to barge through to the senses is My Life for Yours, a thumping weight of stretching sinews, barracking rhythms, and heated melodic grandeur. It is an instant lure for the passions, its classic rock groove veining intense energy and a predatory urgency hungry for a kill. The vocals are a contagious mix of clean and growling might with the often joint tones of Frost and Smith anthemic and harmonically glorious. The unrelenting charge of the song drops midway to bring an expansive wrap of intense and tempestuous atmosphere scorched with an epic guitar solo fire. Ending in the same drinking song style as it started and recalling the cold wastelands and warrior honour, the track is a titanic start to the release and equalled continually.

A Common Son opens with outstanding vocal harmonies before sending weaves of sonic invention and gentle melodic coaxing through the ear. It is a trick though, a wicked aural sleight of hand as soon the band explodes from another teasing melodic stroke into a brawling confrontation of hardcore vocals and surging flesh lashing power metal type riffs. That is not the end of it though as Frost Giant insert masterful and inciting melodic vocals and sirenesque sonic charms across the raging sky of the song. Not as infectious as the first it is still an impossible to resist bruising which leaves one breathless and wanting so much more.

The magnetic stirring rhythms of Heathen’s Lament are just one seductive lure of the song, its rampant and inventive presence a magnet for heart and mind. The consistent quality of the guitars with their barbed melodicism and mischievous manipulations hold the passions tight whilst being buffeted by raucous basslines and beats, the combination an irresistible taunt. Imagine Bad Religion and Ensiferum linking up and you get a whisper of the genius going on within song and EP.

The release is completed by the punk rock tempest Not While I Draw Breath and a cover of the Adele song Someone Like You. The first of the pair again is an insatiable pleasure which flays the senses whilst swamping them with rich rewards. It is like being serenaded whilst being dragged into the bedlam of a ravenous maelstrom, the harmonies and melodic enterprise soothing and offering safety against the scurrilous intensity and rampant hungry sounds. The closing track did bring a slight groan when reading the track list, a moan which turned into awe within mere seconds. The band turn the song into a skate punk treat with fiery muscles and snarling energies pulling essences from the likes of Danzig and especially Volbeat into the mix. It is an excellent end to a staggering release, simple as.

If you want something new and innovative out of your folk metal or melodic hardcore than Frost Giant and the When Myth and History Merged into Mystery EP is a must investigation which will leave you drooling at the mouth. This is one release no one should miss.

https://www.facebook.com/frostgiantkills

RingMaster 18/12/2012

Copyright RingMaster: MyFreeCopyright

The Horde – Thy Blackened Kingdom

With an EP back in 2008 that made people take a keen interest in them, Illinois based band The Horde return with their debut album Thy Blackened Kingdom, a release containing epics tales of Viking legends, battles, and demons, all delivered in a constant barrage of thrash, speed metal with more than a splash of punk.

Having formed in 2006 and really only well known in their surrounding home area, their debut EP From Empire to Ashes took them to the attention amongst others of Stormspell Records, the result the signing with and the recording of Thy Blackened Kingdom and its triumphant recent release. Consisting of ten tracks of chest beating and sword swinging ferocity the album hits hard, fast, and with all disregard for the welfare of its listeners.

The album has a definite old school feeling across its battlefield partly achieved by, as commented by guitarist Tim Matthews “Recording in analogue helped get that old school feeling without losing any of the sonic power that is held in high regard in today’s extreme metal scene.” The aim was certainly successful but the release does not feel dated nor not earn its place in the modern folk/Viking/metal swarm of bands laying waste before them. As one listens there are numerous influences and references that spring to mind from early Venom and Celtic Frost to Turisas and the punk attack of the likes of Kvelertak. There are moments where bands like Motorhead, Maiden and Tyr raise their horns and at one point within ‘Hell Beast Of The Pale Frost’ a Metallica type itch also broke out.  
   From the moment ‘Death Foretold’ raises its muscled riffs and power, the album’s force and intent is set. A strong mix of old and new sounds the song is a satisfyingly enthused attack which barely breaks a sweat or crosses into new territories, though when it brings in a solo that is as discordant as it is fresh the track lifts to new heights. An increase in intensity and joy comes when ‘Thy Blackened Reign’ takes over. Direct and simple in sound and lyrical content, as well as in delivery it is a battle cry to inspire fear in those before it. The track’s forcefulness and simplicity works well with its punk aggression as guitars, bass and drums rampage in the ear.

The track also confirms the biggest flaw on the album that the opener suggested. The drums are throughout the release very poor, not in skill as technically James is intent on doing as much skilful harm as the music needs and gives scope for. It is their sound that is so disappointing, tinny and weakly metallic one can almost hear his mother asking for her pots and pans back for supper. Though not a perfect album this is the biggest problem with it and quite sad as it detracts from the drummer’s obvious ability. Thankfully it does not ruin the album to a majorly damaging degree as the best track and most others show.

‘Odin’s Blood’ is immense, a rampant anthemic declaration with resourceful guitars, a tribal bassline, group chants, and all the addictive juices you could want in a song to stir up the senses. The obvious leader amongst the tracks though two other tracks do closely rival, firstly ‘War God’ with a bass thump that was spawned in hell and a chugging riff that stomps like a thousand Viking boots over the senses, slower paced than ‘Odin’s Blood’ it has equal intensity and overwhelming power, but focused in a more singular and epic attack. The other ‘Vengeance for a King’, is a violent revengeful primal onslaught with incessant inciting riffs that devour the ears eagerly and a pulsating guitar groove that balances neatly with the emotive sonic solos strikes.

Thy Blackened Kingdom is worth your attention for these three alone but the consistency of the rest of the release makes it a very satisfying proposition. Though slightly meagre on outright originality it certainly brings more energy and pulse pumping eagerness to satiate a full blood lust need. The Horde is ready to go to war and with Thy Blackened Kingdom they have a sturdy and appealing weapon.

RingMaster 14/09/2011

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