The Evolution of Kampfar

Norway's Kampfar have a substantial fanbase now and have made festival appearances at premiere metal festivals such as Germany's Wacken, Party San, Norway's Inferno and after this year, Hellfest in France. With four full-length albums under their belt, Kampfar's journey from obscurity to their current position is a storied one.

Kampfar originally began life as the black metal band Mock in 1992. The three piece from Gressvik released a demo entitled Cold Winter in 1994, a split with the German band Tumulus in 1995 and the EP Vinterland in the same year on the highly acclaimed (at least in underground circles) Hammerheart records. Musically, Mock sound like a primitive atmospheric black metal band ala early Burzum but less aggressive (although it does feature Dolk's recognisable, vicious rasps which sound unchanged compared to modern Kampfar) with more commendable drumming. 'Call the Eternal Winter' even has an eerie organ in it which divulges an element of gothic mystery to the music. Lyrically, the band avoided Satanic/anti-Christian cliches and opted for talking about freezing temperatures and Winter, much like Immortal. Mock actually became defunct in 1994 - the three band members were interested in pursuing radically different kinds of music (one member went on to join the EBM band Apoptygma Berzerk) [1] - before the EP was released and mainman Dolk (Norwegian for 'dagger'. His real name is Per-Joar which translates to 'mountain warrior' [2]) went on to conceive Kampfar. Fortunately, however, in 2007 Agonia Records re-released the tracks from the split and the EP in the compilation 'Mock', limited to 1000 copies.

Kampfar (which is an ancient Norse word for Odin or Wotan that warriors would cry before entering battles to heighten their performance [2]) was to be Dolk's continuation of his vision that Mock incited. In 1994, Dolk was seeing a girl whose brother was Thomas. Thomas originally played the piano and has a strong background in classical music. Dolk desperately needed a guitarist, having written the song 'Kampfar' on his bass and needing a guitarist to record it, and Thomas satisfied the position [3]. Dolk has stated that he has always attempted to distance Kampfar from the abundance of Norwegian black metal bands that were spawning at the time. The band designed a logo that did not immediately resonate the symetric, gothic type-face or illegibility of other black metal bands and they dropped the corpse-paint of Mock, "It was really a strange thing because people didn't understand the concept of black metal without corpse-paint." [3] Dolk evades labelling Kampfar black metal, which he considers relates to the Satanic; he opts to dub his band 'Norse pagan folklore metal'.

A demo restricted to 250 copies was released in 1995 on the respected Season of Mist, recorded between 1994-1995. In the same year, the pair's debut self-titled EP was recorded. Bearing the colourful image of a Norwegian landscape on its front cover, the release could be disregarded as black metal, considering the archetypal black and white covers of black metal bands in the mid-nineties. With Dolk handling vocal and drumming duties and Thomas covering guitars and bass, the EP is undeniably the foundation for Kampfar's modern sound, with thick organic atmospheres contrasted sharply with aggressive buzzing, both created by the guitar. The song 'Kampfar' clocks in at over nine minutes, beginning rather relaxed before launching itself into more violent passages akin to a more thoughtful early Bathory, escalating towards icy highlights and concluding with proud, warrior-esque clean vocals, similar to what Fenriz does with Storm whose sole album was released in the same year as this EP. 'Hymne' sounds distinctively Norse and with subtle clean vocals used sparsely for the intro: "Hymne til Odin", it is clear that this song pays homage to the Norse god Odin, often considered a clichéd theme in contemporary metal. The final track is 'Hjemkomsten' (which translates to 'The homecoming'). Laden with synths, 'Hjemkomsten' subtracts the black metal guitar, reducing the frosty atmosphere, and focuses on melody with a simple yet complimentive drum beat. The music evokes images of exploration, folklore and of course nature. This track displays Thomas' classical influences best and tottering over the two minute mark, the song retains the listener's interest throughout as well as underscoring that Kampfar are more than a simply a black metal act.

In 1997, Kampfar released their debut full-length album 'Mellom Skogkledde Aaser' (which translates along the lines to 'across wood-covered hills') on Malicious Records, recorded in X-ray Studio in September and October of 1996. All of the songs extend beyond six minutes and there is no confirmation of stagnation. Opening with piercing female screams, the album stings into 'Valdogg' with an incredible multi-dimensional guitar sound, previously unknown to Kampfar but destined to become their trademark, unique sound. Melody is married with the abrasive guitars as heard on the self-titled observation, forming what is now popularly described as pagan metal (Viking metal meets black metal). There is no overt use of keyboards or any component that can be classified as folk metal, which is certainly one of the many prominent strengths of this album [4]. The atmosphere is substantiated further with seething guitar rhythms and the melodies adorn it with the icy temperatures Kampfar usually employ, only they sound more accentuated. A cleaned up version of 'Hymne' makes an appearance on the album with a few additional seconds. The structures feel natural as opposed to forced or splintered. Even in modern times, this stands as one of the greatest contributions to black metal.

The following year, the band released another EP named 'Norse' on Hammerheart Records. The title-track is noticeably more upbeat than anything captured on 'Mellom Skogkledde Aaser', having been written in a major key, making it significantly more accessible. Interestingly enough, although this song is less atmospheric in the traditional sense, it comes across more vividly. This is also Kampfar's first musical venture into the English language, although the other songs are in Norwegian. On the whole, the guitar leads have progressed greatly and the melodies are easier to pick out. 'Troll' is an inferior song to 'Norse' which is relentless in its progression, but 'Troll' is still earns repeated listens with its acoustic introduction and the addition of synths later on. Closing track 'Tæring' serves as an outro, coming across as fairly uplifting and closer to folk than the previous songs.

After the 'Norse' EP, Kampfar unleashed their sophomore album on the metal world. 'Fra Underverdenen' (which translates as 'from the undergrowth') was released in 1999, again on Hammerheart records. It picks up from the EP; 'Norse' is on the tracklisting. Kampfar experiment more on this album, moving at various tempos, drawing out their ductile guitar melodies into a bevy of alternative styles, all while ignoring the use of archetypal or tacky synths. The atmosphere is different - thick and suffocating at times yet unlike anything they band has previously committed to record. The inclusion of a digeridoo can be heard on 'Troll, Død Og Trolldom' and a cello on 'Svart Og Vondt' too which illustrates how far Kampfar have come in a such a brief amount of time. The Norwegians still attain their aggressive roots with 'Mørk Pest' juxtaposing visceral passages with melodic ones, typical of Viking metal but Kampfar are certainly one of the first to employ it so brazenly. This is a sublime example of Kampfar's innovation.


Unfortunately, events ground to a halt after 'Fra Underverdenen' when Thomas and Dolk went through personal issues that set Kampfar on a lengthy hiatus. These problems would have to be solved before the pair could return to making music together. During the years of inactivity, Dolk received several letters each week from fans questioning what happened to Kampfar. These served as an inspiration for Dolk to continue with Kampfar at some point. Three years later, the Norwegians reactivated Kampfar and were given two options: to continue the band as before or to get more members and expand into a live band. Previously, the band had received offers to perform live but always refused due to only being a two-piece [1]. However, they selected the latter option with ease and found suitable musicians in two years; Kampfar were now joined by drummer 1113 (who now lives in the Netherlands) and bassist Jon Kabber in 2003, the latter of whom Dolk met while doing session vocals for the black/death metal band Gruesome [2].

The new Kampfar line up

Kampfar joined the Austrian label Napalm Record's roster who Dolk has had intense links with since the mid-nineties. The label showed the most interest in the band, as opposed to money which suited Kampfar impeccably. In 2006, Kampfar's first two albums were re-released by their new record label who bought the rights for the full-lengths. The Napalm pressing of 'Fra Underverdenen' comes with the 'Norse' EP as an extra. Both of these albums had been sold out for almost five years so the re-release was a positive action from Napalm. The first pressing of 'Mellom Skogkeldde Aaser' sold over 6,000 copies, yet Thomas and Dolk received nothing [1]. It was sold to Century Media and Napalm original bought the rights from them and Kampfar are now benefiting richly. The self-titled mini-CD has not been re-released because Season of Mist refuse to sell it as it still sells so well.

2006 also saw Kampfar's hotly anticipated return to the studio with 'Kvass' (translated as 'sharp') coming out and receiving universal praise. It was a difficult album to create, considering 1113 and Kabber had to adapt to Dolk and Thomas' personal style but eventually they did with optimum results. The release showcases crystal-clear production which compliments the music remarkably, illuminating all of its attributes. 'Ravenheart' is the token English song, conveying the spirit of Kampfar to non-Norwegian listeners and due to its English language, this track is frequently considered the best on the album. The album utilises impressive rhythms and the inclusion of trance-inducing and dreamy states shares common ground with other Viking metal bands. The trademark coupling of melody and abrasion is still present, marking this album Kampfar's. The album seems colder and moodier than 'Fra Underverdenen' but not completely; 'Gaman Av Drømmer' is in a major key and ends the album in an upbeat manner. This is the album that secured a brand new fanbase for Kampfar, their breakthrough album.

'Kvass' was succeeded by 'Heimgang' in 2008. Recorded at Silvertone Studio, the same studio used for 'Kvass', Dolk wanted 'Heimgang' to be a return-to-roots album as he believes the band lost atmosphere over the years. The album is closer to analogue than digital and Dolk had the intention of making it sound more honest and genuine; the drums on 'Inferno' were recorded on the first take. With 1113 and Kabber more familiar with the workings of Dolk and Thomas, it was much easier to write this CD as a cohesive unit. Lyrically, the album deals with crossing over into the Underworld of Norse mythology, a topic that has fascinated Dolk since he was young. Some of the topics discussed occurred locally to Dolk; 'Antvort' is about a priest supported by the Norwegian state as someone spreading the word of God who dabbled with both the light and the dark. The priest originally lived very close to where Dolk lived, about 200 years ago [6]. Unlike the last two studio efforts, there are no English songs on this release, which secures Kampfar's integrity in terms of searching for commercial success. The album is consciously more stripped down and more of a straight-forward metal release.'Inferno' hits like a blazing hammer; 'Vettekult' illustrates maturity as the band's most emotive track; 'Vansinn' is Kampfar at their most refreshingly folk metal sounding with a particularly insistent rhythm while avoiding the clichéd monotony of bands such as Finntroll, Ensiferum and Korpiklaani. This is a very intensive release for Kampfar, pushing them to their limits in spite of their back-tracking to a more atmospheric sound.

Kampfar are currently working on new material and it is tricky to predict what kind of direction they will move in. Either way, expecting a disappointing release would most likely be a terrible mistake.

---
[1] Soundshock's Kampfar interview, 2009
[2] Sheol Magazine's Kampfar interview, 2007
[3] Heathen Harvest's Kampfar interview, 2009
[4] but the design and cover art is interestingly enough by Season of Mist
[5] Perhaps it should be noted that this album was released around a similar time that folk bands such as Ensiferum and Finntroll were being constructed.
[6] Living for Metal's Kampfar interview, 2009

The Best Metal Albums of the 2000s

Another decade is behind us and the amount of treasures metal offered us this decade is alarming. Metal is so articulated now, so easy to access, I wonder if it is at its peak of popularity currently. Anyhow, I present my favourite metal albums of the past decade (2000 - 2009 inclusive) in no particular order. I've only allowed one entry per band otherwise it'll be too taxing to compile such a list.

1. Dream Theater ~ Six Degrees of Inner Turbulence [2002]

Dream Theater's sixth studio effort is quite stunning. I've talked about this disc too much so I shall simply copy and paste my description of this release from my post entitled 'A Succinct Commentary on Dream Theater' Studio Albums' from 2008:

"Dream Theater accomplish another first with this release; this marks the first album composed of two discs. The second disc is one song - the title track, clocking in at a devastating 42:04 minutes long. The primary disc is sinister but not the kind identified in previous Dream Theater releases. The production makes it sound far more clinical and functional. All of these songs are lengthy in duration, appropriating the mega-long songs archetypal to progressive music. The moods of each vary greatly: 'Glass Prison' is tenacious and a harbinger of the future Dream Theater to come; 'Blind Faith' is uplifting whilst heavy with a nod to traditional heavy metal/hard rock inPetrucci's riffing during the chorus; 'Misunderstood' is a stormy piece, boasting more power without being as outwardly aggressive as the opener; 'The Great Debate' is defiant; 'I Disappear' is ghostly reserved and concludes the first disc perfectly. Dealing with various mental conditions, it is befitting of the title track (broken into eight tracks) to cycle through varying moods in grandiose fashion. LaBrie gives several touching vocal performances, namely 'Goodnight Kiss'. This album also sees the debut of Portnoy'sbacking vocals which inevitably lead to a contribution of crippling the progressive metal innovators but are capable of being ignored on this release. 'Six Degrees of Inner Turbulence' is a fantastically turbulent song, propelling its listeners through a barrage of emotional responses and unusual musical techniques, as featured on 'The Test That Stumped Them All'. Overall, this opus is one of Dream Theater's strongest due to its multi-dimensional magnitude."

2. Fozzy ~ Happenstance [2002]

Apparently 2002 was a great year for metal. This is the album that actually got me into metal, back in 2003. Fronted by WWE wrestler Chris Jericho, Fozzy's Happenstance was predominantly a cover album with four original songs thrown in. The covers were of '80s heavy metal bands and I believe they are better than the originals (with the exception of Motley Crue's 'Livewire' and possibly Priest's 'Freewheel Burning') because the updated and modern take makes the guitars sound sharper and the overall sound clearer. Jericho's vocals are ridiculously unconventional - gravelly with a tendency to shoot into vibrato zone. The four original songs are distinctly more modern and sound like they could be classed as melodic death metal without the death. Ultra melodic modern heavy metal, possibly. It's tedious to define but it sounds fantastic. 'End of Days' has a insistent and great riff that throws the song forth with an appreciative melody. 'With the Fire' emanates glory and 'Crucify Yourself' is beautifully dark. It is a shame they did not carry this sound on to their 2005 follow up All that Remains. Who knows, perhaps their new album that comes out later this month will see a return to this sound but I doubt it. Nonetheless, I still listen to Happenstance every other night when I'm at home.

3. Subterranean Masquerade ~ Suspended Animation Dreams [2005]

Suspended Animation Dreams is the most ambitious album I have ever heard. Think maudlin of the Well just about to come down from an LSD trip. Employing clean vocals and growls (courtesy of November's Dooms' Paul Kuhr so you can expect a commendable effort) alongside the odd moment of female vocals, keyboards, trumpets, saxophones and mellotron...this album has nothing but effort compacted into it. Progressive avant-garde metal has never sounded so strong. Guitars range from nostalgic, fearful, painful, aggressive to lovelorn. They literally depict every emotion imaginable. Although it sounds crazy and erratic, it is a truly cohesive and emotive effort. There are not awkward fragmentation problems and nothing jars or sticks out unkindly. Each song is a miniature masterpiece with something different to offer. 'The Rock 'n' Roll Preacher' is immensely addictive which is a celebration considering the song clocks in over nine minutes long. There are so many layers to this observation that is demands countless repeated listens to appreciate the experimentation and creativity forming it. There are no instances of riff salad or guitar masturbation here, just infinite creativity. Also, Andy Winters contributed to this project so consider that a good seal of approval, alongside Travis Smith's suitably deranged artwork. I thought last year they were supposed to release the sophomore album In Pastille Colours but I guess it still needs to be worked on? They have high expectations to meet.

4. Katatonia ~ Viva Emptiness [2003]

Although not strictly 'metal', Katatonia's shoe-gaze classic Viva Emptiness deserves a spot on this list. Coming a long way from their death/doom origins, Katatonia release a slab of sleek draconian misery. It is amazing how cold this release sounds without veering into isolating black metal riffage. It is a painful listen (though not as depressing as '99s Tonight's Decision), monochromatic and concrete-endorsed. It is so well composed and united in atmosphere that it seems like a concept album. The music is brutality honest, occasionally entering dreamscapes before being harshly confronted by a gritty reality check which wallows towards depression. Not a celebratory record but too often in life does one want to recede into negativity and this is the album to do it. There is an unconventional vein of romance in this album, best personified by songs like 'Evidence', 'Sleeper' and 'Omerta', which keeps the listener loyal to this release. It seems surprising that Katatonia never broke into the mainstream and over take Opeth in terms of popularity. Perhaps it is for the best.

5. Sabaton ~ Attero Dominatus [2006]

Sabaton are the kick up the proverbial backside that power metal needed to step up its game. I detailed Sabaton's studio attempts in a recent blog entry so again, I shall quote from that:

"It would be futile to argue that Sabaton's second album is wildy discernable from their debut (the closing track, entitled 'Metal Crue' is another jokey metal song with lyrics created by the names of popular metal bands) but Attero Dominatus does provide evidence of Sabaton's evolution over the last year. Songs are more streamlined and sound more like anthems, with offerings like the title track, 'Nuclear Attack', 'Back in Control' and 'In the Name of God' packing a hefty punch to the listener. These songs are Sabaton at their sharpest and most dynamic, comfortable in what they do with formidable execution. Sabaton's lengthiest song to date is on this album, the melancholy 'Rise of Evil', describing with accuracy the rise of the Third Reich. This is arguably the best song Sabaton have committed to tape for its abundant maturity, foreboding riffs and envious intensity. Although an improvement on Primo Victoria, a third album like this would do Sabaton no more favours; they have exhausted this style."

6. Kampfar ~ Kvass [2006]

Kvass was Kampfar's returning album. After a period of inactivity, they returned with this frost Viking offering. With hooking guitar melodies married with abrasive rhythm guitar, this album flirted with different atmospheres in the Viking/black metal style Kampfar are used to. One of Kampfar's greatest assets is their resistance to succumb to archetypal folk metal stylings to bolster their Viking imagery; this way they retain copious amounts of originality. The album is beautifully hypnotic and very Norwegian in sound. The trademark Kampfar guitar melodies are recognisable against any background and they sound enviably streamlined on this release. 'Ravenheart' is the song that appeals to their fanbase most (simply because of its English title, no doubt) but the war ravaged 'Til Siste Mann' and the melting sounds of 'Gaman av Drømmer' highlight this album as Kampfar's best since their debut. What a muscular return.

7. Pain of Salvation ~ The Perfect Element [2000]

The Perfect Element is one of the best metal albums ever, let alone this decade. As far as prog metal is concerned, it can go toe-to-toe with Dream Theater's mighty Awake. In fact, this is essentially an inversion of Awake. Where Awake's merits lie in genuine, unrestricted melancholy anger, TPE connects to the listener with relate-able rage-tinged sadness. The fixation is on the depressing rather than the angry. Both albums are studded with beauty, but it shines more on Awake because beauty compliments sorrow better than anger. This album is lucidly colourful and unashamedly inquisitive. The multitude of textures suits the variety of musical expressions. Daniel Gildenlöw's voice is stunningly versatile and could not be aped by anyone. Progressive metal compositions have never sounded so luscious with a focus on emotion rather than skill. Lyrically, there are manifestations of the human conditions that everyone will be able to relate to and it the level of accuracy this has been captured with is frightening, particularly since Pain of Salvation are a Swedish band. Despite being ten years old now, this album sounds like it was conceived yesterday.

8. Enslaved ~ Below the Lights [2003]

Enslaved's Below the Lights is unbelievably underrated. It marks the album that pulled the band out of their unsuccessful experimentation phase. Muscular Viking metal passages are twinned with thoughtful progressive metal moments. The black metal elements are slimmed down but add a level of viciousness unattainable by the other aforementioned metal subgenres. It's a sublime release with picturesque imagery and beautiful exploration not frequently associated with black metal; the introduction to 'Queen of Night' is perfect. The clean vocals are very appropriate for the guitar tone and although they are indifferent to the growls, the album would suffer without them. Some may consider this Enslaved's selling-out moment but this release just encourages black metal bands to think beyond the confines of '90s black metal.

9. Freak Kitchen ~ Organic [2005]

It seems surprising that there aren't any other bands like Freak Kitchen (at least that I'm conscious of) but it could be due to their odd tuning, their musical wit and talent or the fact that people respect them. Generally considered playing a form of experimental hard rock, I will allow them in this list because they do have plenty of undeniably metal features and arrangements (not to mention an exclusive (prog) metal fanbase). Organic is the peak of their quirkiness (I'm currently excluding new album Land of the Freaks because I haven't given it a studious enough listen) and musical intelligence. Technicality is confined to the solos while the remainder of the song's body is built around unusual guitar employment. The solos have their own wacky sound that is the property of Mattias IA Eklundh exlusively. No one sounds like him. His vocals are perfect for a band like Freak Kitchen and on this album, bassist Christer Örtefors pitches in with vocal duties on 'Infidelity Ghost' with results to be applauded. The songs are outstandingly catchy and with the usual tongue-in-cheek lyrics, it is impossible not to fall in love with Organic. The only issue I have with Freak Kitchen is that for their experimental nature, they do not seem enthusiastic on experimenting with song structures a great deal. If it's not broken, don't fix it?

10. Joyless ~ Wisdom & Arrogance [2000]

Although Wisdom & Arrogance is not strictly a metal album, I will allow its inclusion for Joyless used to play black metal. Their second album is a massive departure from the melancholic black metal of their debut Unlimited Hate. Wisdom & Arrogance is like Lifelover's bipolar younger sister. This opus is hard to describe but it falls somewhere along the blurred lines of misanthropic depressive pop rock. Indeed it sounds like black metal musicians purposefully creating something accessible just to frustrate people (yes, this could also be the next Shining album). The title of the album could not be more appropriate in that way. There is far too much to say about this Joyless effort. Possibly its most striking feature is vocalist Ida Helleboe who has a child-like juvenile voice. In theory it sounds irritating but in practice it is perfect for this band. Melancholy, beauty and angst are carried off perfectly. The juvenile essence of her vocals make it seem like Joyless feel entirely helpless, beyond suicide. It is moody and bipolar, like a teenager. It is the male vocals of Olav Berland that take some getting used to on the final song 'Room of Velvet Splendour' but after enough spins, the song becomes as addictive and as beautiful as the rest. Somewhat like the adult apologising to you for their teen's misbehaviour but you realise that the adult and child are very similar. It is difficult to word Joyless but I suspect I shall be comprehensively discussing them in a later blog post. This is not the place for it. Mind-blowing album, nonetheless.

And the rest:

Another ten albums I thoroughly appreciated from this past decade are:

11. Lifelover ~ Erotik

12. Arcturus ~ The Sham Mirrors

13. Edguy ~ Hellfire Club

14. Opeth ~ Damnation

15. Putrid Pile ~ Pleasure in Suffering

16. Mystic Forest ~ Waltz in the Midst of Trees

17. Nevermore ~ This Godless Endeavour

18. Nunslaughter ~ Goat

19. Nile ~ Annihilation of the Wicked

20. Scythe ~ Decay

...of 2009

The end of 2009 has passed and my listening of new releases this year was worse than that of last year. Needless to say, this edition of 'best of' will be less wholesome than last years. I've altered some of the catergories to make it more economical.

Best Album

Dream Theater ~ Black Clouds and Silver Linings

Dream Theater apologise to their fanbase for releasing the poor Systematic Chaos in '07 by releasing Black Clouds and Silver Linings. Darkness meets heaviness in a convincing display of profound emotion. Lengthy numbers full of adventure ('The Count of Tuscany'), prog rock styled nostalgia ('The Best of Times') and themed frustration ('The Shattered Fortress'). The erratic solos have been considerably turned down with a focus more on overall composition as opposed to individual passages. Unfortunately, Portony's poor vocal efforts are around but are much less dominant than on their previous full-length. The songs are intensely visual and despite the remarkable duration of this album, it all sails by too quickly. Dream Theater are back. For real.

Honourable mentions: Porcupine Tree ~ The Incident; Putrid Pile ~ House of Dementia

Best EP
Lifelover ~ Dekadens


Sweden's finest DSBM band must be hard at work, with Dekadens following the recently released album Konkurs. Lifelover entreat the audience to a varied and uncomforable journey of solitude. From the sleek 'Luguber Framtid' to the dramatic 'Myspys' (with a rhythm that reminds me of Aura Noir for some reason) to the punchy 'Androider', this EP showcasing the band pushing their limitations further away. Can they ever disappoint?

Honourable mentions: Pain of Salvation ~ Linoleum; Victimizer ~ Ressurrected Abominations

Best Song
Dream Theater ~ 'A Nightmare to Remember'
The opener from Black Clouds and Silver Linings is one of the best songs Dream Theater have penned in a while. The song opens strikingly heavy, with a tinged gothic edge before creeping into sinister territory, unfolding an adventure. The heavy passages are juxtaposed with a peaceful and medical one rich in textures and haze. There is a lot to praise in this songs (and unfortunately, Portnoy's vocals are hell bent on tainting the ending). The instruments support each other with no painful contradictions. Nothing is too distracting or over the top. LaBrie's vocals are beautifully versatile, underscoring this track as nothing short of magnificent.

Honourable mentions: Porcupine Tree ~ 'Time Flies'; Megadeth ~ 'This Day We Fight'


Biggest Disappointment
Queensryche ~ American Soldier


I probably enjoyed this album substantially more than everyone else but it is still disappointing by my standards. I like Tribe and Operation Mindcrime II but this album lacks the dynamic nature of the latter and the moving creativity of the former. Most people detract this album for its patriotic American concept, but I can look past that. It's the music that disappoints me. The ballad is terrible - Tate's daughter should NOT be on this album. She is distracting and not a particularly decent child singer. The rapping depletes the album further as does the tedious 'modern rock', heavy guitar riffage as can be heard during the chorus of 'If I were King' - what is otherwise a commendable and memorable rock song. I can deal with Queensryche not wanting to continue to uphold the metal banner but just be intelligent about the creative process. There are some gems in this album but it's covered in a fair amount of embarrassment to wade through. How this band have fallen from grace. I still retain my faith in them though, probably because they remain one of my favourites.

Honourable mentions: Dying Fetus ~ Descend into Depravity

Best Cover Art
The 11th Hour ~ Burden of Grief

Maybe I'm simply being lazy and can't be arsed to check out other album art this year but this cover is amazing (unlike the album...). In fact, it was so good I decided to sketch the crow with decent results. You know precisely what to expect from looking at the cover and that's what good album art does. Unusual yet moody tones, smoky atmospheres, a stone clock with the final number showing 23, branches in Autumn and the centre-piece - a painted crow looking rather sinister. The glowing light makes it look somewhat less melodramatic, although the over the top nature of the cover can not be disputed. Having said that, death/doom metal is hardly reserved. The detail on the crow is profound and a marvel to stare at. The effect of the individual features is a success. The realism is so great that the textures shine right through. Artist Mick Koopman should be very proud of this effort and the band were more than lucky to be able to work with him.

Honourable mentions: Pain of Salvation ~ Linoleum; Diablo Swing Orchestra ~ Sing-Along Songs for the Damned and Delirious

Best Lyrics

Porcupine Tree ~ 'Time Flies'

Freak Kitchen probably would have stole this section but I can't find their lyrics online. Listening to them make me smile as they've updated their inventory with all the fashionable pop culture staples like Facebook, optical mice etc. But this behemoth of a track literally flies by because it's so astonishing. Lyrically, it's concerned with archetypal and personal prog nostalgia but the way their written adds a maudlin and cute quality to them. They just feel so personal and have some great metaphors like 'suburb of heaven'. Catchy stuff.

Honourable mentions: Megadeth ~ 'Endgame'; Katatonia ~ 'Forsaker'

Best Newcomer

Fleshgod Apocalypse ~ Oracles

Think death metal-era Behemoth but with intricate spurts of technicality and classical interludes thrown in for good measure. Fleshgod Apocalypse are a remarkably talented trio, releasing their debut Oracles this year. Coupled with a compelling live show, this band is certainly worth keeping an eye on in the future. Hopefully a follow up explores more territories and doesn't stagnate the mediocre tech death scene.

Honourable mentions: Kalisia ~ Cybion; White Wizzard ~ High Speed GTO

Best Live Show

Kampfar, Underworld, London, 16th February

I was overtly thrilled when Kampfar anounced their UK debut show, an exclusive London date with coheadlining band Vreid and support from Iskald. Fortunately, Kampfar were last on and Dolk was a tremendous frontman, the audience never taking their eyes off him. His growls were intensive and enduring throughout. The setlist was beautifully varied, showcasing rarities and favourites from all of their albums. Opening with 'Vantro' as their intro tape they launched into a full-on attack with 'Inferno' and never laxed their iron grip. The encore was 'Bukkeferd' from their debut, which was surprising. Such a shame the audience did not react so enthusiastically and predictably 'Ravenheart' was the track greeted with the best ovation. People ruin the metal shows but without them, they cannot exist. Anyhow, these Norse pagans are lined up for Hellfest this year and I hope to be in attendance. I can imagine Dolk shining in an open air environment.

Honourable mentions: Putrid Pile, The Gaff, London, 1st July; Dream Theater, Manchester Apollo, Manchester, 9th October

Best Festival

Hellfest Open Air 2008, Clisson, 19th ~ 21st June

If I was to be calling this one based entirely on social factors, it would be awarded to Hard Rock Hell but based purely on line up and organisation, than France's premier metal festival reigns victorious again. Pulling out a line up that particularly excited the prog factor in me with Dream Theater, Queensryche and Pain of Salvation (all in one day) among others, I couldn't lose. Add in New York death metal favourites of mine Skinless and Immolation, along with bands who avoid London like Aura Noir and Manowar and this festival had me sold. I'd never see Motley Crue perform live because they are so poor but being one of my favourite bands and at the festival, I could watch them headlining without exclusively dropping a large sum of money to see them. I thought it would be impossible to top last year's line up, but I was indeed wrong. The festival itself ran smoothly despite the surge in numbers. Socially, it was hit-and-miss thanks to the conclusion of my two year relationship (avoid doing weekend long festivals with your ex and said ex's object of jealousy) but a great weekend of metal was not ruined by social politics. I talked to more people this year and yes, festivals surely due attract the mentally-touched metalheads in armies. The line up for 2010 so far looks stunning (Kampfar, Sabaton, Freak Kitchen, Urgehal and more) and has effectively confirmed my attendance. I suspect this time next year, I'll be listing Hellfest as festival of the year again.

Honourable mentions: Bloodstock Open Air, Catton Hall, 14 ~ 16th August; Hard Rock Hell III, Prestatyn, 4th - 5th December

Best Discovery

Forced Entry (US)

This year I discovered plenty of new bands I'd never heard of before but the best of these were Seattle's Forced Entry, a thrash metal band who formed in 1985. I discovered them via Metal Inquisition at the start of last year and was interested in the idea of technical thrash metal. Their second album As Above, So Below from '91 is incredible. It's technical thrash metal without being progressive such as bands like Atheist, Cynic, Anacrusis etc. They have their own particular style with angular riffs, well-timed pinched harmonics, amazing audible bass lines and their own style of thrashy vocals. The lyrics were usually intelligent (especially for thrash metal) but the band never took themselves too seriously, penning such party tracks as 'How We Spent Our Summer Vacation' and 'We're Dicks'. Unfortunately they only released two albums and one EP before being overpowered by the grunge movement and were coerced into splitting up after a flood of issues out of their control. It seems a travesty that bands like Sacred Reich made it (sort of) whilst Forced Entry are condemned to complete thrash metal obscurity, despite doing something creative and intelligent. What's worse is the contemporary thrash metal revival, spearheaded by such trite and unoriginal bands like Evile and Municipal Waste who rehash old ideas from thrash metal's heyday and consider themselves mind-blowing. Forced Entry need to reunite and bring real innovative thrash metal to the world. I truly believe they are metal's most underrated band and I listen to all the metal subgenres profoundly. I pray they will reunite this year, as they once did in 2002. They rereleased As Above, So Below last year so you never know. They're so compelling that I dedicated my Summer to them. This band is proof that there is no justice in the world. They truly deserve to be making a living off their music.

Honourable mentions: Internal Bleeding; Joyless

~~~

And that's about it. 2009 was a decent year of metal but I never got round to acquiring all the releases I so desired. Last year was a particularly busy year and I just didn't have the time. Hopefully 2010 will be less hectic and I can satisfy my desires. Already planned for release this year are the new Sabaton, Scythe, Nevermore and Dream Evil. Hopefully the live scene will be just as good, if not superior.