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Although a little old now this still makes me chuckle out loud.
Poor Edith has had an absolute mare.
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#NigelFarage -
Song of the Day - No 96
Showaddywaddy - Three Steps To Heaven
WIKI
"Three Steps To Heaven" is a catchy, upbeat cover song by Showaddywaddy. The lyrics share a simple yet effective formula for achieving happiness and success in life through three essential steps: finding a lover, earning their trust, and vowing commitment.The original was co-written and recorded by Eddie Cochran, released in 1960
https://www.youtube.com/watch?v=qI8ppzJbKTI
#SOTD #SongOfTheDay #music #Showaddywaddy #rocknroll #doowop
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Nytt Land – Aba Khan Review By Spicie ForrestI’d like to share my favorite fact about Nytt Land, the Siberian dark folk project from husband and wife, Anatoly and Natalia Pakhalenko.1 During my research for this review, I came across an old interview with Anatoly. He was discussing instrumental diversity on their then-upcoming release, ODAL. Of all the instruments Anatoly plays, the talharpa, an ancient Nordic bowed lyre, is his favorite. Do you know why it’s his favorite? BECAUSE HIS WIFE MADE IT FOR HIM. MADE IT. WITH HER OWN TWO HANDS.2 I can’t even imagine the incalculable value of such a gift. And I’m only half kidding when I say that fact alone makes Aba Khan—and anything else they release—worth a spin.
Nytt Land often releases albums strictly preserving the ancient traditions of their homeland, like 2025’s Songs of the Shaman, but Aba Khan follows a different path. Picking up the threads first woven on 2021’s Ritual and continued on 2023’s Torem, Aba Khan captures the energy of the shamanic rites of Nytt Land’s native Siberia. Nytt Land doesn’t perform any one specific rite on Aba Khan, but rather, Nytt Land channels their significance, their substance. As such, this isn’t a direct transcription or translation, but a respectful, contemporary interpretation that places listeners in the midst of ancestral proceedings. Produced with immersion in mind, the soundstage is dynamic and beautifully utilized. You can almost smell the clean air and feel the warmth of the bonfire as practitioners’ shifting vocals and well-placed instruments surround you, each given plenty of room to breathe and shine. To get the full effect, headphones are highly recommended here.
Production and mixing would mean little here, were it not for Nytt Land’s excellent performances. Natalia is the centerpiece, providing striking lead vocals and bringing to life the chanting, throat singing chorus of this ceremony (“Aba Khan,” “Taiga”). She and fellow drummer Aleksandr Rosliakov provide the raw, thunderous backbone for the album, stoking ritual fervor and reverence alike (“The Oath,” “Tygir Tayii (Heavenly Sacrifice)”).3 All other instruments are handled by Anatoly. Flutes, both bone and wood, alternate between heraldic (“Totem,” “Mansi”) and musical (“Taiga,” “Mansi”) duties, while strings—like the talharpa—guide Aba Khan through its eight movements. A high base quality means standout moments are few here, but the instrumental bridge of “Taiga,” which features mouth harp, flute, and talharpa all playing different melodies on top of a deep stringed foundation, is noteworthy, as is the absolutely massive, constant thrum of “Prayer.” It’s like listening to a god breathe.
According to the promo sheet, Aba Khan comprises a collection of shamanic vignettes, but it nevertheless possesses a loose narrative flow from one track to the next. This is largely driven by Natalia’s singing. Aba Khan is written entirely in indigenous Serbian languages and Old Norse, but Natalia defies the language barrier through measured swaying (“Taiga,” “Totem”), raw vulnerability (“The Oath,” “Prayer”) and ritualistic staccatos (“Tygir Tayii (Heavenly Sacrifice)”) to sketch the shape and purpose of each movement. I’m normally pretty unforgiving on intros, but “Aba Khan” serves more as an invocation or invitation before the ceremony begins in earnest with “Taiga.” Aside from mid-album snag “Uitag,” which dwells overlong in ambient repetition, Nytt Land moves with purpose through each movement. Aba Khan closes in a whirlwind, shifting from the tension of ceremonial action (“The Oath”) to that of anticipation (“Prayer”), before releasing it in spiraling celebration and catharsis (“Tygir Tayii”).
I don’t think anyone would argue the value of preservation efforts, but I might argue that Aba Khan does something even more important. Whether at a museum or on recordings like Songs of the Shaman, a clinical detachment separates us from feeling the gravity of these traditions as an insider would. Aba Khan annihilates that barrier. Using every tool at their disposal, Nytt Land communicates the emotions, atmosphere, and spirit of Siberia’s shamanic traditions through music, a universal language. This isn’t meant to be known in the mind. It’s meant to be felt in the heart. On Aba Khan, Nytt Land invites you to walk in their millennia-old shoes to a time and place where spirits rule, shamans protect the people, and old gods whisper.4
Rating: 3.5/5.0
#2026 #35 #AbaKhan #DarkFolk #Feb26 #Folk #NotMetal #NyttLand #ProphecyProductions #Review #Reviews #SiberianMusic
DR: 8 | Format Reviewed: 320 kbps mp3
Label: Prophecy Productions
Websites: Bandcamp | Facebook | Instagram
Releases Worldwide: February 20th, 2026 -
Nytt Land – Aba Khan Review By Spicie ForrestI’d like to share my favorite fact about Nytt Land, the Siberian dark folk project from husband and wife, Anatoly and Natalia Pakhalenko.1 During my research for this review, I came across an old interview with Anatoly. He was discussing instrumental diversity on their then-upcoming release, ODAL. Of all the instruments Anatoly plays, the talharpa, an ancient Nordic bowed lyre, is his favorite. Do you know why it’s his favorite? BECAUSE HIS WIFE MADE IT FOR HIM. MADE IT. WITH HER OWN TWO HANDS.2 I can’t even imagine the incalculable value of such a gift. And I’m only half kidding when I say that fact alone makes Aba Khan—and anything else they release—worth a spin.
Nytt Land often releases albums strictly preserving the ancient traditions of their homeland, like 2025’s Songs of the Shaman, but Aba Khan follows a different path. Picking up the threads first woven on 2021’s Ritual and continued on 2023’s Torem, Aba Khan captures the energy of the shamanic rites of Nytt Land’s native Siberia. Nytt Land doesn’t perform any one specific rite on Aba Khan, but rather, Nytt Land channels their significance, their substance. As such, this isn’t a direct transcription or translation, but a respectful, contemporary interpretation that places listeners in the midst of ancestral proceedings. Produced with immersion in mind, the soundstage is dynamic and beautifully utilized. You can almost smell the clean air and feel the warmth of the bonfire as practitioners’ shifting vocals and well-placed instruments surround you, each given plenty of room to breathe and shine. To get the full effect, headphones are highly recommended here.
Production and mixing would mean little here, were it not for Nytt Land’s excellent performances. Natalia is the centerpiece, providing striking lead vocals and bringing to life the chanting, throat singing chorus of this ceremony (“Aba Khan,” “Taiga”). She and fellow drummer Aleksandr Rosliakov provide the raw, thunderous backbone for the album, stoking ritual fervor and reverence alike (“The Oath,” “Tygir Tayii (Heavenly Sacrifice)”).3 All other instruments are handled by Anatoly. Flutes, both bone and wood, alternate between heraldic (“Totem,” “Mansi”) and musical (“Taiga,” “Mansi”) duties, while strings—like the talharpa—guide Aba Khan through its eight movements. A high base quality means standout moments are few here, but the instrumental bridge of “Taiga,” which features mouth harp, flute, and talharpa all playing different melodies on top of a deep stringed foundation, is noteworthy, as is the absolutely massive, constant thrum of “Prayer.” It’s like listening to a god breathe.
According to the promo sheet, Aba Khan comprises a collection of shamanic vignettes, but it nevertheless possesses a loose narrative flow from one track to the next. This is largely driven by Natalia’s singing. Aba Khan is written entirely in indigenous Serbian languages and Old Norse, but Natalia defies the language barrier through measured swaying (“Taiga,” “Totem”), raw vulnerability (“The Oath,” “Prayer”) and ritualistic staccatos (“Tygir Tayii (Heavenly Sacrifice)”) to sketch the shape and purpose of each movement. I’m normally pretty unforgiving on intros, but “Aba Khan” serves more as an invocation or invitation before the ceremony begins in earnest with “Taiga.” Aside from mid-album snag “Uitag,” which dwells overlong in ambient repetition, Nytt Land moves with purpose through each movement. Aba Khan closes in a whirlwind, shifting from the tension of ceremonial action (“The Oath”) to that of anticipation (“Prayer”), before releasing it in spiraling celebration and catharsis (“Tygir Tayii”).
I don’t think anyone would argue the value of preservation efforts, but I might argue that Aba Khan does something even more important. Whether at a museum or on recordings like Songs of the Shaman, a clinical detachment separates us from feeling the gravity of these traditions as an insider would. Aba Khan annihilates that barrier. Using every tool at their disposal, Nytt Land communicates the emotions, atmosphere, and spirit of Siberia’s shamanic traditions through music, a universal language. This isn’t meant to be known in the mind. It’s meant to be felt in the heart. On Aba Khan, Nytt Land invites you to walk in their millennia-old shoes to a time and place where spirits rule, shamans protect the people, and old gods whisper.4
Rating: 3.5/5.0
#2026 #35 #AbaKhan #DarkFolk #Feb26 #Folk #NotMetal #NyttLand #ProphecyProductions #Review #Reviews #SiberianMusic
DR: 8 | Format Reviewed: 320 kbps mp3
Label: Prophecy Productions
Websites: Bandcamp | Facebook | Instagram
Releases Worldwide: February 20th, 2026 -
Nytt Land – Aba Khan Review By Spicie ForrestI’d like to share my favorite fact about Nytt Land, the Siberian dark folk project from husband and wife, Anatoly and Natalia Pakhalenko.1 During my research for this review, I came across an old interview with Anatoly. He was discussing instrumental diversity on their then-upcoming release, ODAL. Of all the instruments Anatoly plays, the talharpa, an ancient Nordic bowed lyre, is his favorite. Do you know why it’s his favorite? BECAUSE HIS WIFE MADE IT FOR HIM. MADE IT. WITH HER OWN TWO HANDS.2 I can’t even imagine the incalculable value of such a gift. And I’m only half kidding when I say that fact alone makes Aba Khan—and anything else they release—worth a spin.
Nytt Land often releases albums strictly preserving the ancient traditions of their homeland, like 2025’s Songs of the Shaman, but Aba Khan follows a different path. Picking up the threads first woven on 2021’s Ritual and continued on 2023’s Torem, Aba Khan captures the energy of the shamanic rites of Nytt Land’s native Siberia. Nytt Land doesn’t perform any one specific rite on Aba Khan, but rather, Nytt Land channels their significance, their substance. As such, this isn’t a direct transcription or translation, but a respectful, contemporary interpretation that places listeners in the midst of ancestral proceedings. Produced with immersion in mind, the soundstage is dynamic and beautifully utilized. You can almost smell the clean air and feel the warmth of the bonfire as practitioners’ shifting vocals and well-placed instruments surround you, each given plenty of room to breathe and shine. To get the full effect, headphones are highly recommended here.
Production and mixing would mean little here, were it not for Nytt Land’s excellent performances. Natalia is the centerpiece, providing striking lead vocals and bringing to life the chanting, throat singing chorus of this ceremony (“Aba Khan,” “Taiga”). She and fellow drummer Aleksandr Rosliakov provide the raw, thunderous backbone for the album, stoking ritual fervor and reverence alike (“The Oath,” “Tygir Tayii (Heavenly Sacrifice)”).3 All other instruments are handled by Anatoly. Flutes, both bone and wood, alternate between heraldic (“Totem,” “Mansi”) and musical (“Taiga,” “Mansi”) duties, while strings—like the talharpa—guide Aba Khan through its eight movements. A high base quality means standout moments are few here, but the instrumental bridge of “Taiga,” which features mouth harp, flute, and talharpa all playing different melodies on top of a deep stringed foundation, is noteworthy, as is the absolutely massive, constant thrum of “Prayer.” It’s like listening to a god breathe.
According to the promo sheet, Aba Khan comprises a collection of shamanic vignettes, but it nevertheless possesses a loose narrative flow from one track to the next. This is largely driven by Natalia’s singing. Aba Khan is written entirely in indigenous Serbian languages and Old Norse, but Natalia defies the language barrier through measured swaying (“Taiga,” “Totem”), raw vulnerability (“The Oath,” “Prayer”) and ritualistic staccatos (“Tygir Tayii (Heavenly Sacrifice)”) to sketch the shape and purpose of each movement. I’m normally pretty unforgiving on intros, but “Aba Khan” serves more as an invocation or invitation before the ceremony begins in earnest with “Taiga.” Aside from mid-album snag “Uitag,” which dwells overlong in ambient repetition, Nytt Land moves with purpose through each movement. Aba Khan closes in a whirlwind, shifting from the tension of ceremonial action (“The Oath”) to that of anticipation (“Prayer”), before releasing it in spiraling celebration and catharsis (“Tygir Tayii”).
I don’t think anyone would argue the value of preservation efforts, but I might argue that Aba Khan does something even more important. Whether at a museum or on recordings like Songs of the Shaman, a clinical detachment separates us from feeling the gravity of these traditions as an insider would. Aba Khan annihilates that barrier. Using every tool at their disposal, Nytt Land communicates the emotions, atmosphere, and spirit of Siberia’s shamanic traditions through music, a universal language. This isn’t meant to be known in the mind. It’s meant to be felt in the heart. On Aba Khan, Nytt Land invites you to walk in their millennia-old shoes to a time and place where spirits rule, shamans protect the people, and old gods whisper.4
Rating: 3.5/5.0
#2026 #35 #AbaKhan #DarkFolk #Feb26 #Folk #NotMetal #NyttLand #ProphecyProductions #Review #Reviews #SiberianMusic
DR: 8 | Format Reviewed: 320 kbps mp3
Label: Prophecy Productions
Websites: Bandcamp | Facebook | Instagram
Releases Worldwide: February 20th, 2026 -
Nytt Land – Aba Khan Review By Spicie ForrestI’d like to share my favorite fact about Nytt Land, the Serbian dark folk project from husband and wife, Anatoly and Natalia Pakhalenko.1 During my research for this review, I came across an old interview with Anatoly. He was discussing instrumental diversity on their then-upcoming release, ODAL. Of all the instruments Anatoly plays, the talharpa, an ancient Nordic bowed lyre, is his favorite. Do you know why it’s his favorite? BECAUSE HIS WIFE MADE IT FOR HIM. MADE IT. WITH HER OWN TWO HANDS.2 I can’t even imagine the incalculable value of such a gift. And I’m only half kidding when I say that fact alone makes Aba Khan—and anything else they release—worth a spin.
Nytt Land often releases albums strictly preserving the ancient traditions of their homeland, like 2025’s Songs of the Shaman, but Aba Khan follows a different path. Picking up the threads first woven on 2021’s Ritual and continued on 2023’s Torem, Aba Khan captures the energy of the shamanic rites of Nytt Land’s native Siberia. Nytt Land doesn’t perform any one specific rite on Aba Khan, but rather, Nytt Land channels their significance, their substance. As such, this isn’t a direct transcription or translation, but a respectful, contemporary interpretation that places listeners in the midst of ancestral proceedings. Produced with immersion in mind, the soundstage is dynamic and beautifully utilized. You can almost smell the clean air and feel the warmth of the bonfire as practitioners’ shifting vocals and well-placed instruments surround you, each given plenty of room to breathe and shine. To get the full effect, headphones are highly recommended here.
Production and mixing would mean little here, were it not for Nytt Land’s excellent performances. Natalia is the centerpiece, providing striking lead vocals and bringing to life the chanting, throat singing chorus of this ceremony (“Aba Khan,” “Taiga”). She and fellow drummer Aleksandr Rosliakov provide the raw, thunderous backbone for the album, stoking ritual fervor and reverence alike (“The Oath,” “Tygir Tayii (Heavenly Sacrifice)”).3 All other instruments are handled by Anatoly. Flutes, both bone and wood, alternate between heraldic (“Totem,” “Mansi”) and musical (“Taiga,” “Mansi”) duties, while strings—like the talharpa—guide Aba Khan through its eight movements. A high base quality means standout moments are few here, but the instrumental bridge of “Taiga,” which features mouth harp, flute, and talharpa all playing different melodies on top of a deep stringed foundation, is noteworthy, as is the absolutely massive, constant thrum of “Prayer.” It’s like listening to a god breathe.
According to the promo sheet, Aba Khan comprises a collection of shamanic vignettes, but it nevertheless possesses a loose narrative flow from one track to the next. This is largely driven by Natalia’s singing. Aba Khan is written entirely in indigenous Serbian languages and Old Norse, but Natalia defies the language barrier through measured swaying (“Taiga,” “Totem”), raw vulnerability (“The Oath,” “Prayer”) and ritualistic staccatos (“Tygir Tayii (Heavenly Sacrifice)”) to sketch the shape and purpose of each movement. I’m normally pretty unforgiving on intros, but “Aba Khan” serves more as an invocation or invitation before the ceremony begins in earnest with “Taiga.” Aside from mid-album snag “Uitag,” which dwells overlong in ambient repetition, Nytt Land moves with purpose through each movement. Aba Khan closes in a whirlwind, shifting from the tension of ceremonial action (“The Oath”) to that of anticipation (“Prayer”), before releasing it in spiraling celebration and catharsis (“Tygir Tayii”).
I don’t think anyone would argue the value of preservation efforts, but I might argue that Aba Khan does something even more important. Whether at a museum or on recordings like Songs of the Shaman, a clinical detachment separates us from feeling the gravity of these traditions as an insider would. Aba Khan annihilates that barrier. Using every tool at their disposal, Nytt Land communicates the emotions, atmosphere, and spirit of Siberia’s shamanic traditions through music, a universal language. This isn’t meant to be known in the mind. It’s meant to be felt in the heart. On Aba Khan, Nytt Land invites you to walk in their millennia-old shoes to a time and place where spirits rule, shamans protect the people, and old gods whisper.4
Rating: 3.5/5.0
#2026 #35 #AbaKhan #DarkFolk #Feb26 #Folk #NotMetal #NyttLand #ProphecyProductions #Review #Reviews #SiberianMusic
DR: 8 | Format Reviewed: 320 kbps mp3
Label: Prophecy Productions
Websites: Bandcamp | Facebook | Instagram
Releases Worldwide: February 20th, 2026 -
Today's music:
Kallomäki - Suruton Saattaja
#metal #FolkMetal #DarkFolk #finland #music #np #NowPlaying #MastoMusic
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Today's music:
Kallomäki - Suruton Saattaja
#metal #FolkMetal #DarkFolk #finland #music #np #NowPlaying #MastoMusic
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Today's music:
Kallomäki - Suruton Saattaja
#metal #FolkMetal #DarkFolk #finland #music #np #NowPlaying #MastoMusic
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Today's music:
Kallomäki - Suruton Saattaja
#metal #FolkMetal #DarkFolk #finland #music #np #NowPlaying #MastoMusic
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Today's music:
Kallomäki - Suruton Saattaja
#metal #FolkMetal #DarkFolk #finland #music #np #NowPlaying #MastoMusic
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Free download codes:
Dark Sinfonia - March Of The Fairies
"Dark Folk Music For The Darkest Of Folk!"
#horror #gothic #postpunk #avantgarde #darkfolk #spookfolk #macabre #folklore #darkfairytales #music
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Free download codes:
Dark Sinfonia - March Of The Fairies
"Dark Folk Music For The Darkest Of Folk!"
#horror #gothic #postpunk #avantgarde #darkfolk #spookfolk #macabre #folklore #darkfairytales #music
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Free download codes:
Dark Sinfonia - March Of The Fairies
"Dark Folk Music For The Darkest Of Folk!"
#horror #gothic #postpunk #avantgarde #darkfolk #spookfolk #macabre #folklore #darkfairytales #music
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Free download codes:
Dark Sinfonia - March Of The Fairies
"Dark Folk Music For The Darkest Of Folk!"
#horror #gothic #postpunk #avantgarde #darkfolk #spookfolk #macabre #folklore #darkfairytales #music
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🔴 LIVE NOW ON VORTEX
📻 Vortex Abyss 🕳️ (Dark ambient, neofolk, shoegaze, immersive)
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Albion – It Was In The Month of May I Review By Mystikus Hugebeard
Sorry, but I can’t resist: It was in the month of May that I sat down to review the newest album by the British folk-rockers Albion, titled It Was In The Month of May I.1 This gaggle of self-declared whippersnappers blew this reviewer away with their 2024 album Lakesongs of Elbid. What started as an unassuming filter piece grew on me more and more to the point it made my (and my co-conspirator Killjoy’s) end-of-year list. Albion’s timeless, joyful folk-rock music has enjoyed constant rotations in the Hugebeard tower since then, and so a new album has been a hotly anticipated affair. Now that it’s in our hands, has Albion continued their trend for quality?
For those unfamiliar with Albion, they play a flute-heavy, wistful sort of progressive folk-rock that draws an obvious comparison to Jethro Tull and reminds me a great deal of Big Big Train. For those a little more familiar, it’s worth mentioning that It Was In The Month of May has somewhat toned down the already limited metal crunch that graced Lakesongs of Elbid. Rest assured, this is no criticism, as this album remains energetic and adventurous in all the right ways. The opening prelude, “Mis Mai,” followed by the first true foray into the album’s essence, “The Green Knight,” demonstrate Albion’s sonic strengths right out of the gates. “Mis Mai” highlights the dulcet pipes of Joe Parrish-James as he lathers the song’s Welsh lyrics in decadent velvet, while “The Green Knight” starts the album in usual Albion fashion with grandiose flute melodies explored atop galloping guitar strumming.
What I love about Albion’s music, and what they maintain in It Was In The Month of May, is a sense of effortlessness. The music is fun, it’s accessible, it’s breezy, it’s comfortably warm and full of well-crafted little moments so crisp and yet so obvious it almost makes you wonder how no one else thought of it first. The pub-rock verse of “Down With The Hero” and the epic call-and-response between the flutes and guitars in the middle of “Calan Mai” come especially to mind. In the album’s longer songs, Albion are quite eager to just let the music run free through the meadow in spacious explorations of riffs and solos, but it never feels aimless. The melodies of “The Green Knight” and “Eldest” in particular see the guitars and flutes bounce merrily along in an endless up-and-down like the rolling hills stretching before you as you prepare for adventure. The closer, “Calan Mai,” is the longest at ten minutes, but even at its most unrestrained, the song’s melodies wield graceful finality in a way that always feels satisfying.
It Was In The Month of May is almost 20 minutes shorter than its predecessor, Lakesongs, which makes for an overall cleaner listening experience. However, the album’s pacing does waver a little by over-saturating the latter half with lower-energy tunes. I really quite love “Hymn to Elbereth,” as it has this gently twisting nature to it that happily makes me think of Glass Hammer, but it’s misplaced between the otherwise pleasantly acoustic “She Is The River” and the ballad “Cherry Hill,” making for an overly languid sequence of songs. “Cherry Hill” in particular leans a bit too heavily on chorus repetition for its six-minute runtime. Still, the album ends on the right note with “Calan Mai,” and there are no other noteworthy structural issues or damaging patterns affecting the album. However, I simply must mention the “la-da-da’s” and “doo-do-do’s” in the chorus of “Down With The Hero.” I don’t mind vocalizations at all and they work perfectly well as little interstitial passages like in “Eldest,” but I find it to be a heavily misguided choice for them to carry the chorus of the album’s most upbeat song.
It Was In The Month of May is warm, adventurous, inviting, and once again, and I simply cannot stress this enough, extraordinarily British. While this album never gripped me quite like Lakesongs of Elbid did, the final word on this review is nevertheless one of eager positivity. Albion is a band I tend to think of no matter the musical flavor I’m looking for, and It Was In The Month of May only furthers that trend. This is music that is just so pleasant to listen to, no matter the day, and there are some damn good bangers to be found here for any fan of folk, British rock, or prog.
Rating: Good!
DR: 8 | Format Reviewed: FLAC
Label: Self-Release
Websites: official | facebook | bandcamp
Releases Worldwide: May 26th, 2026Killjoy
In the year 2021, I unexpectedly became acquainted with the debut EP of a very special folk rock group from England. The potential that Albion showed on Pryderi was immediately obvious, and I longed for more. My wish was granted in 2024 by the whopping 70-minute full-length debut Lakesongs of Elbid, for which my esteemed colleague (and now review partner), Mystikus Hugebeard, wrote a splendid filter piece. Albion has wasted no time since then, here to regale our ears again with cheery tunes. It Was in the Month of May seeks to honor the magical time of year when spring sunsets and will soon cede to warmer temperatures.
Albion’s music is wholesome for the soul, whispering to the part of human consciousness that yearns for carefree meadows and being in nature. They primarily achieve this through the exquisite pairing of flute and guitars (both acoustic and electric). This, of course, invites comparisons to Jethro Tull,2 although Albion perhaps hews a bit closer to folk music. Take, for example, the beautiful acoustic guitar fingerpicking and Welsh singing3 in “Mis Mai.” Further, Albion plays a more modernized style of rock than Jethro Tull. “Down with the Hero” is a rousing, ultra-catchy pub rock number and the guitarwork in “The Green Knight” is elaborate, sounding like a slightly slower and proggier Dark Forest. The way that Albion harmoniously blends the old with the new is genuinely refreshing.
It Was in the Month of May similarly succeeds in striking a balance between humble and epic. In both the quiet and upbeat moments, there is an air of unassuming regality. Therefore, it makes perfect sense that Albion composed a pair of songs about Tolkien’s characters Tom Bombadil and his wife, Goldberry. “Eldest (Tom Bombadil)” contains gorgeous guitar and flute swells evoking endless verdant hillsides, as well as a Celtic folk-influenced jig reminiscent of Tuatha de Danann or Braia. “She Is the River (Goldberry)” is entirely acoustic and percussion-less (save for hand claps), with sunny guitar strumming and pleasantly poetic lyrics. Continuing with Tolkien subject matters, “Hymn to Elbereth” features vocal harmonization by Joe and Rhiannon Parrish-James which is as fair as the elves who Frodo, Sam, and Pippin overheard singing these very words in The Fellowship of the Ring. Rhiannon adds her voice to Joe’s at various other times throughout the record, and I would love to hear her take center stage in the future.
Overall, It Was in the Month of May is sharper and more focused than its predecessor. As much as I loved Lakesongs of Elbid, opening with a 9-and-a-half minute instrumental track didn’t help it find its footing. “The Green Knight,” the first full song here, isn’t much shorter but its structure is more disciplined, never wavering from its gallant, galloping theme. The other 8+ minute songs, “Eldest (Tom Bombadil)” and “Calan Mai,” also mostly justify their lengths, although the latter feels a bit meandering towards the end. But the larger issue with “Calan Mai” has to do with the track that precedes it. “Cherry Hill (Maya II)” hits like a lullaby, which might have been okay if it were 3 minutes instead of 6, so it ends up stifling the momentum leading into the ornate concluding track. I do appreciate that, with a total runtime of 52 minutes, It Was in the Month of May is easier to listen to in one sitting.
It Was in the Month of May is great for drifting away and forgetting one’s troubles for a while. The uplifting compositions are easy on the ears while offering bountiful details to uncover during return visits. “Cherry Hill (Maya II)” is the main thing holding it back from unqualified greatness. That said, if Albion continues refining their songcraft at this pace, the next album will surely shatter our score safety counter. So, kick back and enjoy time outside with loved ones. It Was in the Month of May is an excellent way to ring in summer in the Northern Hemisphere.
Rating: 3.5/5.0
#2026 #30 #35 #Albion #BigBigTrain #Braia #BritishMetal #DarkForest #FolkMetal #FolkRock #GlassHammer #ItWasInTheMonthOfMayI #JethroTull #LakesongsOfElbid #May26 #ProgressiveRock #Pryderi #Review #Reviews #TuathaDeDanann -
Nytt Land – Aba Khan Review
I’d like to share my favorite fact about Nytt Land, the Siberian dark folk project from husband and…
#NewsBeep #News #US #USA #UnitedStates #UnitedStatesOfAmerica #Music #2026 #3.5 #AbaKhan #DarkFolk #Entertainment #Feb26 #folk #NotMetal #NyttLand #ProphecyProductions #review #reviews #Siberianmusic
https://www.newsbeep.com/us/478104/ -
Nytt Land – Aba Khan Review
I’d like to share my favorite fact about Nytt Land, the Siberian dark folk project from husband and…
#NewsBeep #News #US #USA #UnitedStates #UnitedStatesOfAmerica #Music #2026 #3.5 #AbaKhan #DarkFolk #Entertainment #Feb26 #folk #NotMetal #NyttLand #ProphecyProductions #review #reviews #Siberianmusic
https://www.newsbeep.com/us/478104/ -
Nytt Land – Aba Khan Review By Spicie ForrestI’d like to share my favorite fact about Nytt Land, the Siberian dark folk project from husband and wife, Anatoly and Natalia Pakhalenko.1 During my research for this review, I came across an old interview with Anatoly. He was discussing instrumental diversity on their then-upcoming release, ODAL. Of all the instruments Anatoly plays, the talharpa, an ancient Nordic bowed lyre, is his favorite. Do you know why it’s his favorite? BECAUSE HIS WIFE MADE IT FOR HIM. MADE IT. WITH HER OWN TWO HANDS.2 I can’t even imagine the incalculable value of such a gift. And I’m only half kidding when I say that fact alone makes Aba Khan—and anything else they release—worth a spin.
Nytt Land often releases albums strictly preserving the ancient traditions of their homeland, like 2025’s Songs of the Shaman, but Aba Khan follows a different path. Picking up the threads first woven on 2021’s Ritual and continued on 2023’s Torem, Aba Khan captures the energy of the shamanic rites of Nytt Land’s native Siberia. Nytt Land doesn’t perform any one specific rite on Aba Khan, but rather, Nytt Land channels their significance, their substance. As such, this isn’t a direct transcription or translation, but a respectful, contemporary interpretation that places listeners in the midst of ancestral proceedings. Produced with immersion in mind, the soundstage is dynamic and beautifully utilized. You can almost smell the clean air and feel the warmth of the bonfire as practitioners’ shifting vocals and well-placed instruments surround you, each given plenty of room to breathe and shine. To get the full effect, headphones are highly recommended here.
Production and mixing would mean little here, were it not for Nytt Land’s excellent performances. Natalia is the centerpiece, providing striking lead vocals and bringing to life the chanting, throat singing chorus of this ceremony (“Aba Khan,” “Taiga”). She and fellow drummer Aleksandr Rosliakov provide the raw, thunderous backbone for the album, stoking ritual fervor and reverence alike (“The Oath,” “Tygir Tayii (Heavenly Sacrifice)”).3 All other instruments are handled by Anatoly. Flutes, both bone and wood, alternate between heraldic (“Totem,” “Mansi”) and musical (“Taiga,” “Mansi”) duties, while strings—like the talharpa—guide Aba Khan through its eight movements. A high base quality means standout moments are few here, but the instrumental bridge of “Taiga,” which features mouth harp, flute, and talharpa all playing different melodies on top of a deep stringed foundation, is noteworthy, as is the absolutely massive, constant thrum of “Prayer.” It’s like listening to a god breathe.
According to the promo sheet, Aba Khan comprises a collection of shamanic vignettes, but it nevertheless possesses a loose narrative flow from one track to the next. This is largely driven by Natalia’s singing. Aba Khan is written entirely in indigenous Serbian languages and Old Norse, but Natalia defies the language barrier through measured swaying (“Taiga,” “Totem”), raw vulnerability (“The Oath,” “Prayer”) and ritualistic staccatos (“Tygir Tayii (Heavenly Sacrifice)”) to sketch the shape and purpose of each movement. I’m normally pretty unforgiving on intros, but “Aba Khan” serves more as an invocation or invitation before the ceremony begins in earnest with “Taiga.” Aside from mid-album snag “Uitag,” which dwells overlong in ambient repetition, Nytt Land moves with purpose through each movement. Aba Khan closes in a whirlwind, shifting from the tension of ceremonial action (“The Oath”) to that of anticipation (“Prayer”), before releasing it in spiraling celebration and catharsis (“Tygir Tayii”).
I don’t think anyone would argue the value of preservation efforts, but I might argue that Aba Khan does something even more important. Whether at a museum or on recordings like Songs of the Shaman, a clinical detachment separates us from feeling the gravity of these traditions as an insider would. Aba Khan annihilates that barrier. Using every tool at their disposal, Nytt Land communicates the emotions, atmosphere, and spirit of Siberia’s shamanic traditions through music, a universal language. This isn’t meant to be known in the mind. It’s meant to be felt in the heart. On Aba Khan, Nytt Land invites you to walk in their millennia-old shoes to a time and place where spirits rule, shamans protect the people, and old gods whisper.4
Rating: 3.5/5.0
#2026 #35 #AbaKhan #DarkFolk #Feb26 #Folk #NotMetal #NyttLand #ProphecyProductions #Review #Reviews #SiberianMusic
DR: 8 | Format Reviewed: 320 kbps mp3
Label: Prophecy Productions
Websites: Bandcamp | Facebook | Instagram
Releases Worldwide: February 20th, 2026 -
Hey, a tuneful weekend! Two shows coming up today and tomorrow, check them out here https://theweakandthestrong.bearblog.dev/ and maybe see you...there! 🖤
#TheWeakAndTheStrong #DeLantaern #Andledon #Zevenaar #DenAndel #Music #Muziek #alternative #darkfolk #folknoise #live
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👁 Some stories don’t need room to grow.
Flash Fiction Frenzy is open inside the Dark Forum. Submit a two-sentence horror piece there and it will be published in the next volume of Dark Descent: Whispers From Beyond. 🖤
📖 https://www.darkholmepublishing.uk/darkforum#thread/6a957daaa733aa059370fc56
#writingcommunity #readingcommunity #horrorcommunity #flashfiction #twosentencehorror
-
👁 Some stories don’t need room to grow.
Flash Fiction Frenzy is open inside the Dark Forum. Submit a two-sentence horror piece there and it will be published in the next volume of Dark Descent: Whispers From Beyond. 🖤
📖 https://www.darkholmepublishing.uk/darkforum#thread/6a957daaa733aa059370fc56
#writingcommunity #readingcommunity #horrorcommunity #flashfiction #twosentencehorror
-
👁 Some stories don’t need room to grow.
Flash Fiction Frenzy is open inside the Dark Forum. Submit a two-sentence horror piece there and it will be published in the next volume of Dark Descent: Whispers From Beyond. 🖤
📖 https://www.darkholmepublishing.uk/darkforum#thread/6a957daaa733aa059370fc56
#writingcommunity #readingcommunity #horrorcommunity #flashfiction #twosentencehorror
