Gnipahålan is a black metal band from Sweden, who hit the scene back in 2014 with their debut demo. Several demos, EPs, splits, and compilations later, the band is ready to launch their third full-length album “Folkstorm.”
This is actually a one-man project from musician Swartadauþuz, who runs Ancient Records and is in a ton of bands including but not limited to Greve, Kekeeth, Nexehmu, and Trolldom. Apparently, this album was actually conceived n 2016 so this is, chronologically, the band’s second album. Session drummer K provides a sterling performance and keeps the album very well grounded among its roots.
“Folkstorm,” is an ice-cold album that sounds like it was recorded on a glacier in the middle of some frozen void. It’s threatening, violent, and raw—just how black metal should be. However, it’s more than that as well. Beneath the rough exterior of its very fitting production, lies an oddly beautiful album with a lot of subtle atmosphere and melody.
That’s really where the potency of the album lies. “Folkstorm” is a decidedly old-school black metal album but it’s ancient and cosmic, offering soundscapes without being overly obnoxious about it. One of the best elements of the album is the bass, which can be heard quite well actually through the mix. A lot of raw-ish black metal ignores the bass but I’m glad its embraced here.
The album begins with the short instrumental “Karolinernas dödsmarsch,” and it’s a lot more regal than I thought it would be but it makes sense in context of the album. Soon as it ends the first full song begins.
“Det nordiska urkallet,” is that song and it’s a nearly twelve minute epic that is a solid opener because it’s length never becomes an issue. It opens with synths that are used to boost the atmosphere rather than become the song’s focus. The drums rumble through with their own brand of extremity. Together with the profane vocals, the song exists in both a searing world of blackened anguish and one that is uniquely melodic. The bass seems to take its own pathy even while complimenting the other elements—I love it.
“Blodsband genom tidens gång,” is more languished in the beginning with a slower tempo but no less effective. The vocals hang in the air like vengeful spirits, while the bass walks around the keys. It’s a sterling mix and it’s very clear just how much talent is on display here with the songwriting. I love it when the song it’s very minimalistic with the guitars but the drums and bass bang it out. It’s a very engaging sound but unhinged.
“Ur myllan kommen…” is one of my favorites on the album because the way the instruments work together makes the song sound sweeping and engaging without resulting in unnecessary elements or fluff. This is black metal and how Swartadauþuz is able to write a song with abrasive qualities like this but still make it stand out among countless other bands is truly special. The melodic guitar around the 2:22 mark is fantastic and it’s little details like that, that make the song so good.
The album ends with the atmospheric title track but the final full-length song is the massive “Blodörnens kall…” and its twelve minute runtime. Much like the other longer song, this one is never boring and uses its time wisely. Parts of this are extremely furious and among the album’s most caustic moments. The drums, especially the snare work, are outstanding and surprisingly catchy. Around the 4:10 mark, the bass gets center stage but helped along with clean guitar and a nasty foreboding tone. It builds back up to an explosive mid-section which is another album highlight.
All in all, Gnipahålan’s “Folkstorm,” is a stand out album that showcases black metal is still the best genre to show off how raw and underground metal can be but still open enough to allow different elements inside it.
No comments:
Post a Comment