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Old Sorcery – The Outsider Review

Swords and sorcery have served as metal muses since the genre’s earliest days and for the most seminal…
#NewsBeep #News #Music #2026 #3.5 #AU #Australia #AvantgardeMusic #BlackMetal #DepressiveSilence #DungeonSynth #Eldamar #Eleea #Emperor #Entertainment #FinnishMetal #Jan26 #JimKirkwood #khonsu #LunarAurora #Megahammer #OldSorcery #Paysaged'Hiver #review #reviews #Sojourner #TheOutsider #WarmoonLord
https://www.newsbeep.com/au/468753/

Old Sorcery – The Outsider Review

Swords and sorcery have served as metal muses since the genre’s earliest days and for the most seminal…
#NewsBeep #News #Music #2026 #3.5 #AvantgardeMusic #BlackMetal #CA #Canada #DepressiveSilence #DungeonSynth #Eldamar #Eleea #Emperor #Entertainment #FinnishMetal #Jan26 #JimKirkwood #khonsu #LunarAurora #Megahammer #OldSorcery #Paysaged'Hiver #review #reviews #Sojourner #TheOutsider #WarmoonLord
https://www.newsbeep.com/ca/463948/

https://www.europesays.com/uk/752892/ Old Sorcery – The Outsider Review #2026 #3.5 #AvantgardeMusic #BlackMetal #DepressiveSilence #DungeonSynth #Eldamar #Eleea #Emperor #Entertainment #FinnishMetal #Jan26 #JimKirkwood #khonsu #LunarAurora #Megahammer #music #OldSorcery #PaysageD'Hiver #Review #Reviews #Sojourner #TheOutsider #UK #UnitedKingdom #WarmoonLord

Swords and sorcery have served as metal muses since the genre’s earliest days and for the most seminal acts. Indeed, many a writer here at AMG Studios has indulged in a game or three hundred of Dungeons & Dragons, and I imagine the same can be said of our esteemed commentariat. So, on the rare occasion that dungeon synth, the correct soundtrack for all D&D games, falls into the promo sump, it’s picked up fairly quickly. Old Sorcery’s newest full-length, The Outsider, didn’t even make it that far before Mystikus Hugebeard and I had a Canadian standoff about coverage and settled on this appropriately lengthy double review.

Old Sorcery is the dungeon synth project of Lahti, Finland-based multi-instrumentalist Vechi Vrăjitor.1 The Outsider sees Vrăjitor continuing the “Masks of the Magi” trilogy that began with 2025’s delightful and exploratory The Escapist. Small excursions from Old Sorcery’s core sound yielded great results, incorporating sweeping cinematic textures and classical instrumentation. That adventurous spirit lives on here, but The Outsider ranges much further afield. Vrăjitor ventures into territory once explored by early Emperor, but he emerges with a sound more atmospheric and raw. 12-grit tremolo walls, blast beats aplenty, and echoing rasps like howling storm winds provide a base upon which Old Sorcery centers icy synths (“Magick Triumph,” “Barrowgrim Asylum”), folk-minded woodwinds (“The Interior Gates of the True Soul,” “Where Sorrow Reigns”), and the searching reverence of Sojourner or Eldamar. Rather than an end in itself, Vrăjitor uses black metal on The Outsider as a malleable vehicle to further explore the concepts introduced in The Escapist.

The Outsider by Old Sorcery

The result is a 71-minute behemoth. Following The Escapist’s comparatively trim 50 minutes, The Outsider was a daunting prospect, to say the least. I still think it could lose ten minutes or so—“The Pain Threshold,” early sections of “Innigkeit” and “Magick Triumph,” and the quirky Gothic section of “Where Sorrow Reigns”—but repeated listens showed me that I was missing the forest for the trees. And like the moss that grows on those trees, The Outsider grew on me. Both black metal and dungeon synth are well-suited to fostering atmosphere and emotive landscapes, and Vrăjitor harnesses this shared propensity to his advantage. With turns at times subtle—the synths and guitars shifting into lockstep at the end of “Magick Triumph”—and at others, explosive and invigorating—the phenomenal triple attack of gritty guitar, ephemeral synth licks, and breathy woodwind solo in “Where Sorrow Reigns”—The Outsider is a journey, not a destination.

And it is the compositional vistas and narrative musicality of The Outsider that make it a journey worth taking. The bones of a story are hidden within The Outsider, and Vrăjitor intends them to be found. While there are presumably lyrics to The Outsider, Vrăjitor’s vocals are pushed back in the mix and filtered, allowing this to be a functionally instrumental album. Such Old Sorcery as this will naturally whisper different tales to different listeners, but I defy the skeptic to stand on the moon-kissed snowfields of “Magick Triumph,” tarry by the campfire and tender acoustics of “Innigkeit,”2 or emerge from the airy, crystalline caverns “Where Sorrow Reigns” and conjure no dreams of the titular outsider’s adventures. Not merely a pairing, The Outsider weaves wintery synths and raw, blackened atmospherics into a single spell and adorns it with grand, evocative structures and diverse instrumentation to create a story that needs no overt narration, but reveals its bones through music alone.

Established through the excellent “Castle” trilogy,3 Old Sorcery is a mainstay in dungeon synth circles, and if The Outsider proves anything, it’s for good reason. While The Escapist took day trips beyond Old Sorcery’s core sound, The Outsider bravely departs familiar territory while never forgetting its heritage. While there are certainly passages and pathways I trudged through rather than enjoyed, The Outsider is a singular, grand tapestry, cleverly composed and beautifully arranged. Old Sorcery’s latest is a work best basked in and consumed organically, rather than dissected microscopically, and has only gotten better with each spin. Set aside an hour on a cold, snowy day (there should be plenty of them right about now), cozy up with a warm drink, and hear The Outsider’s tale.

Rating: 3.5/5.0
DR: 9 | Format Reviewed: 320 kbps mp3
Label: Avantgarde Music
Websites: Bandcamp | Facebook
Releases Worldwide: January 30th, 2026

Mystikus Hugebeard (a practitioner of old sorcery, as it were)

Whenever the yearning for old-school dungeon synth takes me, Old Sorcery has long been one of my first choices. However, I’m embarrassed to admit that during my preparatory research, I was rather shocked to learn that Old Sorcery debuted as recently as 2017 with Realms of Magickal Sorrow. I’d just assumed Old Sorcery has been around since, I don’t know, time immemorial, only because Old Sorcery so effortlessly plays that sort of raw, old school dungeon synth that you’d find on a cassette tape tucked away next to a Jim Kirkwood or Depressive Silence. I’m grateful that Spicie Forrest clued me in on this release and allowed me to double review with him, such that I could further inform our readers of the truly quality dungeon synth act that Old Sorcery is. This opportunity has not presented itself in a way I’d anticipated, however, because The Outsider is not merely dungeon synth like most Old Sorcery releases, but also an album of raw, wintry black metal.

As The Outsider opens in “Magick Triumph,” rumbling horns and scattered synths set the stage for a classic Swords n’ Sorcery experience typical to the Old Sorcery oeuvre, until a grimy guitar chord descends like a fog. It’s worth mentioning that Old Sorcery has traveled this blackened road before with 2020’s Sorrowcrown, but it’s done exceptionally well here. It’s the kind of frigid black metal you’d hear from Paysage d’Hiver and Lunar Aurora, with a similarly raw production style to boot. An overly raw-sounding mix that sacrifices too much listenability for “authenticity” is an immediate album-killer for me, but The Outsider is in that perfect sweet spot. The tremolos and blast-beats buzz with wintry chill and the vocals are way, way in the back, and the synths are always able to cut through the din. The mix has that nice, approachable sort of buzz, like just a little too much wine.4 Still, headphones will definitely be your friend for this album.

Old Sorcery weaves dungeon synth and black metal together such that each is stronger for the other’s presence, effectively playing off each other’s strengths. The dungeon synth elements in The Outsider enjoy an active melodic role in the heavier songs, the inviting, pleasant tones of old-school dungeon synth exuding warmth amidst the cold black metal. It makes for some standout moments, like frostbiting synths fading in and out through stormy guitar riffs (“Magick Triumph”), or a crystalline melody ringing hopeful above rhythmic tremolos and strings (“Where Sorrow Reigns”). “The Interior Gates of the True Soul” is an exquisite blend of synths and metal with an energy that almost reminds of Khonsu, a percussive, mystical synth melody warping, shifting, driving the song forward atop rolling tremolos. There is, naturally, a great deal of care in The Outsider’s construction of atmosphere, but the melodic focus given to the synths in relation to the black metal feels quite refreshing for the genre. As such, The Outsider rarely feels passive even across its length and maintains a strong sense of engagement from moment to moment.

Speaking of length, The Outsider is notably on the longer side, clocking in at over 70 minutes. But I find that Old Sorcery manages the time well with a healthy spread of longer and shorter songs, coupled with their diverse songwriting approach. The Outsider begins and ends with its dramatic epics, as the bulk of the album swirls through cackling, malevolent melodies (“Barrowgrim Asylum”), softer dungeon synth proper (“Innigkeit,” “The Pain Threshold”), and fantastical electronic/metal harmonies (“The Interior Gates of the True Soul”). There’s nary a weak link on the album, but while the staccato, electronic synth tones work wonders in “Magick Triumph” and “The Interior Gates of the True Soul,” I wish they were utilized a bit more in the ambient tracks. “The Pain Threshold” technically fits that bill, but it’s written in such a way that’s more sweeping and orchestral. It would’ve been nice to see the sharper synth tones common to Old Sorcery’s other works explored in a space less dominated by chaotic black metal, that I might appreciate them in clearer focus.

All in all, The Outsider is another rock-solid album by an artist who has consistently delivered great music, even though this album is a rare break from the Old Sorcery mold. It’s well-paced, well-written dungeon synth/black metal that is always good, and often great. I’ve often joked that this hellsite needs more goddamn dungeon synth, and The Outsider is my perfect specimen: just metal enough to bypass Steel’s gaze, yet with enough dungeon synth that I don’t look out of place wearing my wizard robes while listening to it. I furthermore suspect that my Spicie friend has delivered similarly positive tidings, so now that you’ve had two exceedingly trustworthy goobers tell you how good this album is, just go listen to the damn thing.

Rating: Very Good!

Swords and sorcery have served as metal muses since the genre’s earliest days and for the most seminal acts. Indeed, many a writer here at AMG Studios has indulged in a game or three hundred of Dungeons & Dragons, and I imagine the same can be said of our esteemed commentariat. So, on the rare occasion that dungeon synth, the correct soundtrack for all D&D games, falls into the promo sump, it’s picked up fairly quickly. Old Sorcery’s newest full-length, The Outsider, didn’t even make it that far before Mystikus Hugebeard and I had a Canadian standoff about coverage and settled on this appropriately lengthy double review.

Old Sorcery is the dungeon synth project of Lahti, Finland-based multi-instrumentalist Vechi Vrăjitor.1 The Outsider sees Vrăjitor continuing the “Masks of the Magi” trilogy that began with 2025’s delightful and exploratory The Escapist. Small excursions from Old Sorcery’s core sound yielded great results, incorporating sweeping cinematic textures and classical instrumentation. That adventurous spirit lives on here, but The Outsider ranges much further afield. Vrăjitor ventures into territory once explored by early Emperor, but he emerges with a sound more atmospheric and raw. 12-grit tremolo walls, blast beats aplenty, and echoing rasps like howling storm winds provide a base upon which Old Sorcery centers icy synths (“Magick Triumph,” “Barrowgrim Asylum”), folk-minded woodwinds (“The Interior Gates of the True Soul,” “Where Sorrow Reigns”), and the searching reverence of Sojourner or Eldamar. Rather than an end in itself, Vrăjitor uses black metal on The Outsider as a malleable vehicle to further explore the concepts introduced in The Escapist.

The Outsider by Old Sorcery

The result is a 71-minute behemoth. Following The Escapist’s comparatively trim 50 minutes, The Outsider was a daunting prospect, to say the least. I still think it could lose ten minutes or so—“The Pain Threshold,” early sections of “Innigkeit” and “Magick Triumph,” and the quirky Gothic section of “Where Sorrow Reigns”—but repeated listens showed me that I was missing the forest for the trees. And like the moss that grows on those trees, The Outsider grew on me. Both black metal and dungeon synth are well-suited to fostering atmosphere and emotive landscapes, and Vrăjitor harnesses this shared propensity to his advantage. With turns at times subtle—the synths and guitars shifting into lockstep at the end of “Magick Triumph”—and at others, explosive and invigorating—the phenomenal triple attack of gritty guitar, ephemeral synth licks, and breathy woodwind solo in “Where Sorrow Reigns”—The Outsider is a journey, not a destination.

And it is the compositional vistas and narrative musicality of The Outsider that make it a journey worth taking. The bones of a story are hidden within The Outsider, and Vrăjitor intends them to be found. While there are presumably lyrics to The Outsider, Vrăjitor’s vocals are pushed back in the mix and filtered, allowing this to be a functionally instrumental album. Such Old Sorcery as this will naturally whisper different tales to different listeners, but I defy the skeptic to stand on the moon-kissed snowfields of “Magick Triumph,” tarry by the campfire and tender acoustics of “Innigkeit,”2 or emerge from the airy, crystalline caverns “Where Sorrow Reigns” and conjure no dreams of the titular outsider’s adventures. Not merely a pairing, The Outsider weaves wintery synths and raw, blackened atmospherics into a single spell and adorns it with grand, evocative structures and diverse instrumentation to create a story that needs no overt narration, but reveals its bones through music alone.

Established through the excellent “Castle” trilogy,3 Old Sorcery is a mainstay in dungeon synth circles, and if The Outsider proves anything, it’s for good reason. While The Escapist took day trips beyond Old Sorcery’s core sound, The Outsider bravely departs familiar territory while never forgetting its heritage. While there are certainly passages and pathways I trudged through rather than enjoyed, The Outsider is a singular, grand tapestry, cleverly composed and beautifully arranged. Old Sorcery’s latest is a work best basked in and consumed organically, rather than dissected microscopically, and has only gotten better with each spin. Set aside an hour on a cold, snowy day (there should be plenty of them right about now), cozy up with a warm drink, and hear The Outsider’s tale.

Rating: 3.5/5.0
DR: 9 | Format Reviewed: 320 kbps mp3
Label: Avantgarde Music
Websites: Bandcamp | Facebook
Releases Worldwide: January 30th, 2026

Mystikus Hugebeard (a practitioner of old sorcery, as it were)

Whenever the yearning for old-school dungeon synth takes me, Old Sorcery has long been one of my first choices. However, I’m embarrassed to admit that during my preparatory research, I was rather shocked to learn that Old Sorcery debuted as recently as 2017 with Realms of Magickal Sorrow. I’d just assumed Old Sorcery has been around since, I don’t know, time immemorial, only because Old Sorcery so effortlessly plays that sort of raw, old school dungeon synth that you’d find on a cassette tape tucked away next to a Jim Kirkwood or Depressive Silence. I’m grateful that Spicie Forrest clued me in on this release and allowed me to double review with him, such that I could further inform our readers of the truly quality dungeon synth act that Old Sorcery is. This opportunity has not presented itself in a way I’d anticipated, however, because The Outsider is not merely dungeon synth like most Old Sorcery releases, but also an album of raw, wintry black metal.

As The Outsider opens in “Magick Triumph,” rumbling horns and scattered synths set the stage for a classic Swords n’ Sorcery experience typical to the Old Sorcery oeuvre, until a grimy guitar chord descends like a fog. It’s worth mentioning that Old Sorcery has traveled this blackened road before with 2020’s Sorrowcrown, but it’s done exceptionally well here. It’s the kind of frigid black metal you’d hear from Paysage d’Hiver and Lunar Aurora, with a similarly raw production style to boot. An overly raw-sounding mix that sacrifices too much listenability for “authenticity” is an immediate album-killer for me, but The Outsider is in that perfect sweet spot. The tremolos and blast-beats buzz with wintry chill and the vocals are way, way in the back, and the synths are always able to cut through the din. The mix has that nice, approachable sort of buzz, like just a little too much wine.4 Still, headphones will definitely be your friend for this album.

Old Sorcery weaves dungeon synth and black metal together such that each is stronger for the other’s presence, effectively playing off each other’s strengths. The dungeon synth elements in The Outsider enjoy an active melodic role in the heavier songs, the inviting, pleasant tones of old-school dungeon synth exuding warmth amidst the cold black metal. It makes for some standout moments, like frostbiting synths fading in and out through stormy guitar riffs (“Magick Triumph”), or a crystalline melody ringing hopeful above rhythmic tremolos and strings (“Where Sorrow Reigns”). “The Interior Gates of the True Soul” is an exquisite blend of synths and metal with an energy that almost reminds of Khonsu, a percussive, mystical synth melody warping, shifting, driving the song forward atop rolling tremolos. There is, naturally, a great deal of care in The Outsider’s construction of atmosphere, but the melodic focus given to the synths in relation to the black metal feels quite refreshing for the genre. As such, The Outsider rarely feels passive even across its length and maintains a strong sense of engagement from moment to moment.

Speaking of length, The Outsider is notably on the longer side, clocking in at over 70 minutes. But I find that Old Sorcery manages the time well with a healthy spread of longer and shorter songs, coupled with their diverse songwriting approach. The Outsider begins and ends with its dramatic epics, as the bulk of the album swirls through cackling, malevolent melodies (“Barrowgrim Asylum”), softer dungeon synth proper (“Innigkeit,” “The Pain Threshold”), and fantastical electronic/metal harmonies (“The Interior Gates of the True Soul”). There’s nary a weak link on the album, but while the staccato, electronic synth tones work wonders in “Magick Triumph” and “The Interior Gates of the True Soul,” I wish they were utilized a bit more in the ambient tracks. “The Pain Threshold” technically fits that bill, but it’s written in such a way that’s more sweeping and orchestral. It would’ve been nice to see the sharper synth tones common to Old Sorcery’s other works explored in a space less dominated by chaotic black metal, that I might appreciate them in clearer focus.

All in all, The Outsider is another rock-solid album by an artist who has consistently delivered great music, even though this album is a rare break from the Old Sorcery mold. It’s well-paced, well-written dungeon synth/black metal that is always good, and often great. I’ve often joked that this hellsite needs more goddamn dungeon synth, and The Outsider is my perfect specimen: just metal enough to bypass Steel’s gaze, yet with enough dungeon synth that I don’t look out of place wearing my wizard robes while listening to it. I furthermore suspect that my Spicie friend has delivered similarly positive tidings, so now that you’ve had two exceedingly trustworthy goobers tell you how good this album is, just go listen to the damn thing.

Rating: Very Good!

Swords and sorcery have served as metal muses since the genre’s earliest days and for the most seminal acts. Indeed, many a writer here at AMG Studios has indulged in a game or three hundred of Dungeons & Dragons, and I imagine the same can be said of our esteemed commentariat. So, on the rare occasion that dungeon synth, the correct soundtrack for all D&D games, falls into the promo sump, it’s picked up fairly quickly. Old Sorcery’s newest full-length, The Outsider, didn’t even make it that far before Mystikus Hugebeard and I had a Canadian standoff about coverage and settled on this appropriately lengthy double review.

Old Sorcery is the dungeon synth project of Lahti, Finland-based multi-instrumentalist Vechi Vrăjitor.1 The Outsider sees Vrăjitor continuing the “Masks of the Magi” trilogy that began with 2025’s delightful and exploratory The Escapist. Small excursions from Old Sorcery’s core sound yielded great results, incorporating sweeping cinematic textures and classical instrumentation. That adventurous spirit lives on here, but The Outsider ranges much further afield. Vrăjitor ventures into territory once explored by early Emperor, but he emerges with a sound more atmospheric and raw. 12-grit tremolo walls, blast beats aplenty, and echoing rasps like howling storm winds provide a base upon which Old Sorcery centers icy synths (“Magick Triumph,” “Barrowgrim Asylum”), folk-minded woodwinds (“The Interior Gates of the True Soul,” “Where Sorrow Reigns”), and the searching reverence of Sojourner or Eldamar. Rather than an end in itself, Vrăjitor uses black metal on The Outsider as a malleable vehicle to further explore the concepts introduced in The Escapist.

The Outsider by Old Sorcery

The result is a 71-minute behemoth. Following The Escapist’s comparatively trim 50 minutes, The Outsider was a daunting prospect, to say the least. I still think it could lose ten minutes or so—“The Pain Threshold,” early sections of “Innigkeit” and “Magick Triumph,” and the quirky Gothic section of “Where Sorrow Reigns”—but repeated listens showed me that I was missing the forest for the trees. And like the moss that grows on those trees, The Outsider grew on me. Both black metal and dungeon synth are well-suited to fostering atmosphere and emotive landscapes, and Vrăjitor harnesses this shared propensity to his advantage. With turns at times subtle—the synths and guitars shifting into lockstep at the end of “Magick Triumph”—and at others, explosive and invigorating—the phenomenal triple attack of gritty guitar, ephemeral synth licks, and breathy woodwind solo in “Where Sorrow Reigns”—The Outsider is a journey, not a destination.

And it is the compositional vistas and narrative musicality of The Outsider that make it a journey worth taking. The bones of a story are hidden within The Outsider, and Vrăjitor intends them to be found. While there are presumably lyrics to The Outsider, Vrăjitor’s vocals are pushed back in the mix and filtered, allowing this to be a functionally instrumental album. Such Old Sorcery as this will naturally whisper different tales to different listeners, but I defy the skeptic to stand on the moon-kissed snowfields of “Magick Triumph,” tarry by the campfire and tender acoustics of “Innigkeit,”2 or emerge from the airy, crystalline caverns “Where Sorrow Reigns” and conjure no dreams of the titular outsider’s adventures. Not merely a pairing, The Outsider weaves wintery synths and raw, blackened atmospherics into a single spell and adorns it with grand, evocative structures and diverse instrumentation to create a story that needs no overt narration, but reveals its bones through music alone.

Established through the excellent “Castle” trilogy,3 Old Sorcery is a mainstay in dungeon synth circles, and if The Outsider proves anything, it’s for good reason. While The Escapist took day trips beyond Old Sorcery’s core sound, The Outsider bravely departs familiar territory while never forgetting its heritage. While there are certainly passages and pathways I trudged through rather than enjoyed, The Outsider is a singular, grand tapestry, cleverly composed and beautifully arranged. Old Sorcery’s latest is a work best basked in and consumed organically, rather than dissected microscopically, and has only gotten better with each spin. Set aside an hour on a cold, snowy day (there should be plenty of them right about now), cozy up with a warm drink, and hear The Outsider’s tale.

Rating: 3.5/5.0
DR: 9 | Format Reviewed: 320 kbps mp3
Label: Avantgarde Music
Websites: Bandcamp | Facebook
Releases Worldwide: January 30th, 2026

Mystikus Hugebeard (a practitioner of old sorcery, as it were)

Whenever the yearning for old-school dungeon synth takes me, Old Sorcery has long been one of my first choices. However, I’m embarrassed to admit that during my preparatory research, I was rather shocked to learn that Old Sorcery debuted as recently as 2017 with Realms of Magickal Sorrow. I’d just assumed Old Sorcery has been around since, I don’t know, time immemorial, only because Old Sorcery so effortlessly plays that sort of raw, old school dungeon synth that you’d find on a cassette tape tucked away next to a Jim Kirkwood or Depressive Silence. I’m grateful that Spicie Forrest clued me in on this release and allowed me to double review with him, such that I could further inform our readers of the truly quality dungeon synth act that Old Sorcery is. This opportunity has not presented itself in a way I’d anticipated, however, because The Outsider is not merely dungeon synth like most Old Sorcery releases, but also an album of raw, wintry black metal.

As The Outsider opens in “Magick Triumph,” rumbling horns and scattered synths set the stage for a classic Swords n’ Sorcery experience typical to the Old Sorcery oeuvre, until a grimy guitar chord descends like a fog. It’s worth mentioning that Old Sorcery has traveled this blackened road before with 2020’s Sorrowcrown, but it’s done exceptionally well here. It’s the kind of frigid black metal you’d hear from Paysage d’Hiver and Lunar Aurora, with a similarly raw production style to boot. An overly raw-sounding mix that sacrifices too much listenability for “authenticity” is an immediate album-killer for me, but The Outsider is in that perfect sweet spot. The tremolos and blast-beats buzz with wintry chill and the vocals are way, way in the back, and the synths are always able to cut through the din. The mix has that nice, approachable sort of buzz, like just a little too much wine.4 Still, headphones will definitely be your friend for this album.

Old Sorcery weaves dungeon synth and black metal together such that each is stronger for the other’s presence, effectively playing off each other’s strengths. The dungeon synth elements in The Outsider enjoy an active melodic role in the heavier songs, the inviting, pleasant tones of old-school dungeon synth exuding warmth amidst the cold black metal. It makes for some standout moments, like frostbiting synths fading in and out through stormy guitar riffs (“Magick Triumph”), or a crystalline melody ringing hopeful above rhythmic tremolos and strings (“Where Sorrow Reigns”). “The Interior Gates of the True Soul” is an exquisite blend of synths and metal with an energy that almost reminds of Khonsu, a percussive, mystical synth melody warping, shifting, driving the song forward atop rolling tremolos. There is, naturally, a great deal of care in The Outsider’s construction of atmosphere, but the melodic focus given to the synths in relation to the black metal feels quite refreshing for the genre. As such, The Outsider rarely feels passive even across its length and maintains a strong sense of engagement from moment to moment.

Speaking of length, The Outsider is notably on the longer side, clocking in at over 70 minutes. But I find that Old Sorcery manages the time well with a healthy spread of longer and shorter songs, coupled with their diverse songwriting approach. The Outsider begins and ends with its dramatic epics, as the bulk of the album swirls through cackling, malevolent melodies (“Barrowgrim Asylum”), softer dungeon synth proper (“Innigkeit,” “The Pain Threshold”), and fantastical electronic/metal harmonies (“The Interior Gates of the True Soul”). There’s nary a weak link on the album, but while the staccato, electronic synth tones work wonders in “Magick Triumph” and “The Interior Gates of the True Soul,” I wish they were utilized a bit more in the ambient tracks. “The Pain Threshold” technically fits that bill, but it’s written in such a way that’s more sweeping and orchestral. It would’ve been nice to see the sharper synth tones common to Old Sorcery’s other works explored in a space less dominated by chaotic black metal, that I might appreciate them in clearer focus.

All in all, The Outsider is another rock-solid album by an artist who has consistently delivered great music, even though this album is a rare break from the Old Sorcery mold. It’s well-paced, well-written dungeon synth/black metal that is always good, and often great. I’ve often joked that this hellsite needs more goddamn dungeon synth, and The Outsider is my perfect specimen: just metal enough to bypass Steel’s gaze, yet with enough dungeon synth that I don’t look out of place wearing my wizard robes while listening to it. I furthermore suspect that my Spicie friend has delivered similarly positive tidings, so now that you’ve had two exceedingly trustworthy goobers tell you how good this album is, just go listen to the damn thing.

Rating: Very Good!

Swords and sorcery have served as metal muses since the genre’s earliest days and for the most seminal acts. Indeed, many a writer here at AMG Studios has indulged in a game or three hundred of Dungeons & Dragons, and I imagine the same can be said of our esteemed commentariat. So, on the rare occasion that dungeon synth, the correct soundtrack for all D&D games, falls into the promo sump, it’s picked up fairly quickly. Old Sorcery’s newest full-length, The Outsider, didn’t even make it that far before Mystikus Hugebeard and I had a Canadian standoff about coverage and settled on this appropriately lengthy double review.

Old Sorcery is the dungeon synth project of Lahti, Finland-based multi-instrumentalist Vechi Vrăjitor.1 The Outsider sees Vrăjitor continuing the “Masks of the Magi” trilogy that began with 2025’s delightful and exploratory The Escapist. Small excursions from Old Sorcery’s core sound yielded great results, incorporating sweeping cinematic textures and classical instrumentation. That adventurous spirit lives on here, but The Outsider ranges much further afield. Vrăjitor ventures into territory once explored by early Emperor, but he emerges with a sound more atmospheric and raw. 12-grit tremolo walls, blast beats aplenty, and echoing rasps like howling storm winds provide a base upon which Old Sorcery centers icy synths (“Magick Triumph,” “Barrowgrim Asylum”), folk-minded woodwinds (“The Interior Gates of the True Soul,” “Where Sorrow Reigns”), and the searching reverence of Sojourner or Eldamar. Rather than an end in itself, Vrăjitor uses black metal on The Outsider as a malleable vehicle to further explore the concepts introduced in The Escapist.

The Outsider by Old Sorcery

The result is a 71-minute behemoth. Following The Escapist’s comparatively trim 50 minutes, The Outsider was a daunting prospect, to say the least. I still think it could lose ten minutes or so—“The Pain Threshold,” early sections of “Innigkeit” and “Magick Triumph,” and the quirky Gothic section of “Where Sorrow Reigns”—but repeated listens showed me that I was missing the forest for the trees. And like the moss that grows on those trees, The Outsider grew on me. Both black metal and dungeon synth are well-suited to fostering atmosphere and emotive landscapes, and Vrăjitor harnesses this shared propensity to his advantage. With turns at times subtle—the synths and guitars shifting into lockstep at the end of “Magick Triumph”—and at others, explosive and invigorating—the phenomenal triple attack of gritty guitar, ephemeral synth licks, and breathy woodwind solo in “Where Sorrow Reigns”—The Outsider is a journey, not a destination.

And it is the compositional vistas and narrative musicality of The Outsider that make it a journey worth taking. The bones of a story are hidden within The Outsider, and Vrăjitor intends them to be found. While there are presumably lyrics to The Outsider, Vrăjitor’s vocals are pushed back in the mix and filtered, allowing this to be a functionally instrumental album. Such Old Sorcery as this will naturally whisper different tales to different listeners, but I defy the skeptic to stand on the moon-kissed snowfields of “Magick Triumph,” tarry by the campfire and tender acoustics of “Innigkeit,”2 or emerge from the airy, crystalline caverns “Where Sorrow Reigns” and conjure no dreams of the titular outsider’s adventures. Not merely a pairing, The Outsider weaves wintery synths and raw, blackened atmospherics into a single spell and adorns it with grand, evocative structures and diverse instrumentation to create a story that needs no overt narration, but reveals its bones through music alone.

Established through the excellent “Castle” trilogy,3 Old Sorcery is a mainstay in dungeon synth circles, and if The Outsider proves anything, it’s for good reason. While The Escapist took day trips beyond Old Sorcery’s core sound, The Outsider bravely departs familiar territory while never forgetting its heritage. While there are certainly passages and pathways I trudged through rather than enjoyed, The Outsider is a singular, grand tapestry, cleverly composed and beautifully arranged. Old Sorcery’s latest is a work best basked in and consumed organically, rather than dissected microscopically, and has only gotten better with each spin. Set aside an hour on a cold, snowy day (there should be plenty of them right about now), cozy up with a warm drink, and hear The Outsider’s tale.

Rating: 3.5/5.0
DR: 9 | Format Reviewed: 320 kbps mp3
Label: Avantgarde Music
Websites: Bandcamp | Facebook
Releases Worldwide: January 30th, 2026

Mystikus Hugebeard (a practitioner of old sorcery, as it were)

Whenever the yearning for old-school dungeon synth takes me, Old Sorcery has long been one of my first choices. However, I’m embarrassed to admit that during my preparatory research, I was rather shocked to learn that Old Sorcery debuted as recently as 2017 with Realms of Magickal Sorrow. I’d just assumed Old Sorcery has been around since, I don’t know, time immemorial, only because Old Sorcery so effortlessly plays that sort of raw, old school dungeon synth that you’d find on a cassette tape tucked away next to a Jim Kirkwood or Depressive Silence. I’m grateful that Spicie Forrest clued me in on this release and allowed me to double review with him, such that I could further inform our readers of the truly quality dungeon synth act that Old Sorcery is. This opportunity has not presented itself in a way I’d anticipated, however, because The Outsider is not merely dungeon synth like most Old Sorcery releases, but also an album of raw, wintry black metal.

As The Outsider opens in “Magick Triumph,” rumbling horns and scattered synths set the stage for a classic Swords n’ Sorcery experience typical to the Old Sorcery oeuvre, until a grimy guitar chord descends like a fog. It’s worth mentioning that Old Sorcery has traveled this blackened road before with 2020’s Sorrowcrown, but it’s done exceptionally well here. It’s the kind of frigid black metal you’d hear from Paysage d’Hiver and Lunar Aurora, with a similarly raw production style to boot. An overly raw-sounding mix that sacrifices too much listenability for “authenticity” is an immediate album-killer for me, but The Outsider is in that perfect sweet spot. The tremolos and blast-beats buzz with wintry chill and the vocals are way, way in the back, and the synths are always able to cut through the din. The mix has that nice, approachable sort of buzz, like just a little too much wine.4 Still, headphones will definitely be your friend for this album.

Old Sorcery weaves dungeon synth and black metal together such that each is stronger for the other’s presence, effectively playing off each other’s strengths. The dungeon synth elements in The Outsider enjoy an active melodic role in the heavier songs, the inviting, pleasant tones of old-school dungeon synth exuding warmth amidst the cold black metal. It makes for some standout moments, like frostbiting synths fading in and out through stormy guitar riffs (“Magick Triumph”), or a crystalline melody ringing hopeful above rhythmic tremolos and strings (“Where Sorrow Reigns”). “The Interior Gates of the True Soul” is an exquisite blend of synths and metal with an energy that almost reminds of Khonsu, a percussive, mystical synth melody warping, shifting, driving the song forward atop rolling tremolos. There is, naturally, a great deal of care in The Outsider’s construction of atmosphere, but the melodic focus given to the synths in relation to the black metal feels quite refreshing for the genre. As such, The Outsider rarely feels passive even across its length and maintains a strong sense of engagement from moment to moment.

Speaking of length, The Outsider is notably on the longer side, clocking in at over 70 minutes. But I find that Old Sorcery manages the time well with a healthy spread of longer and shorter songs, coupled with their diverse songwriting approach. The Outsider begins and ends with its dramatic epics, as the bulk of the album swirls through cackling, malevolent melodies (“Barrowgrim Asylum”), softer dungeon synth proper (“Innigkeit,” “The Pain Threshold”), and fantastical electronic/metal harmonies (“The Interior Gates of the True Soul”). There’s nary a weak link on the album, but while the staccato, electronic synth tones work wonders in “Magick Triumph” and “The Interior Gates of the True Soul,” I wish they were utilized a bit more in the ambient tracks. “The Pain Threshold” technically fits that bill, but it’s written in such a way that’s more sweeping and orchestral. It would’ve been nice to see the sharper synth tones common to Old Sorcery’s other works explored in a space less dominated by chaotic black metal, that I might appreciate them in clearer focus.

All in all, The Outsider is another rock-solid album by an artist who has consistently delivered great music, even though this album is a rare break from the Old Sorcery mold. It’s well-paced, well-written dungeon synth/black metal that is always good, and often great. I’ve often joked that this hellsite needs more goddamn dungeon synth, and The Outsider is my perfect specimen: just metal enough to bypass Steel’s gaze, yet with enough dungeon synth that I don’t look out of place wearing my wizard robes while listening to it. I furthermore suspect that my Spicie friend has delivered similarly positive tidings, so now that you’ve had two exceedingly trustworthy goobers tell you how good this album is, just go listen to the damn thing.

Rating: Very Good!

Swords and sorcery have served as metal muses since the genre’s earliest days and for the most seminal acts. Indeed, many a writer here at AMG Studios has indulged in a game or three hundred of Dungeons & Dragons, and I imagine the same can be said of our esteemed commentariat. So, on the rare occasion that dungeon synth, the correct soundtrack for all D&D games, falls into the promo sump, it’s picked up fairly quickly. Old Sorcery’s newest full-length, The Outsider, didn’t even make it that far before Mystikus Hugebeard and I had a Canadian standoff about coverage and settled on this appropriately lengthy double review.

Old Sorcery is the dungeon synth project of Lahti, Finland-based multi-instrumentalist Vechi Vrăjitor.1 The Outsider sees Vrăjitor continuing the “Masks of the Magi” trilogy that began with 2025’s delightful and exploratory The Escapist. Small excursions from Old Sorcery’s core sound yielded great results, incorporating sweeping cinematic textures and classical instrumentation. That adventurous spirit lives on here, but The Outsider ranges much further afield. Vrăjitor ventures into territory once explored by early Emperor, but he emerges with a sound more atmospheric and raw. 12-grit tremolo walls, blast beats aplenty, and echoing rasps like howling storm winds provide a base upon which Old Sorcery centers icy synths (“Magick Triumph,” “Barrowgrim Asylum”), folk-minded woodwinds (“The Interior Gates of the True Soul,” “Where Sorrow Reigns”), and the searching reverence of Sojourner or Eldamar. Rather than an end in itself, Vrăjitor uses black metal on The Outsider as a malleable vehicle to further explore the concepts introduced in The Escapist.

The Outsider by Old Sorcery

The result is a 71-minute behemoth. Following The Escapist’s comparatively trim 50 minutes, The Outsider was a daunting prospect, to say the least. I still think it could lose ten minutes or so—“The Pain Threshold,” early sections of “Innigkeit” and “Magick Triumph,” and the quirky Gothic section of “Where Sorrow Reigns”—but repeated listens showed me that I was missing the forest for the trees. And like the moss that grows on those trees, The Outsider grew on me. Both black metal and dungeon synth are well-suited to fostering atmosphere and emotive landscapes, and Vrăjitor harnesses this shared propensity to his advantage. With turns at times subtle—the synths and guitars shifting into lockstep at the end of “Magick Triumph”—and at others, explosive and invigorating—the phenomenal triple attack of gritty guitar, ephemeral synth licks, and breathy woodwind solo in “Where Sorrow Reigns”—The Outsider is a journey, not a destination.

And it is the compositional vistas and narrative musicality of The Outsider that make it a journey worth taking. The bones of a story are hidden within The Outsider, and Vrăjitor intends them to be found. While there are presumably lyrics to The Outsider, Vrăjitor’s vocals are pushed back in the mix and filtered, allowing this to be a functionally instrumental album. Such Old Sorcery as this will naturally whisper different tales to different listeners, but I defy the skeptic to stand on the moon-kissed snowfields of “Magick Triumph,” tarry by the campfire and tender acoustics of “Innigkeit,”2 or emerge from the airy, crystalline caverns “Where Sorrow Reigns” and conjure no dreams of the titular outsider’s adventures. Not merely a pairing, The Outsider weaves wintery synths and raw, blackened atmospherics into a single spell and adorns it with grand, evocative structures and diverse instrumentation to create a story that needs no overt narration, but reveals its bones through music alone.

Established through the excellent “Castle” trilogy,3 Old Sorcery is a mainstay in dungeon synth circles, and if The Outsider proves anything, it’s for good reason. While The Escapist took day trips beyond Old Sorcery’s core sound, The Outsider bravely departs familiar territory while never forgetting its heritage. While there are certainly passages and pathways I trudged through rather than enjoyed, The Outsider is a singular, grand tapestry, cleverly composed and beautifully arranged. Old Sorcery’s latest is a work best basked in and consumed organically, rather than dissected microscopically, and has only gotten better with each spin. Set aside an hour on a cold, snowy day (there should be plenty of them right about now), cozy up with a warm drink, and hear The Outsider’s tale.

Rating: 3.5/5.0
DR: 9 | Format Reviewed: 320 kbps mp3
Label: Avantgarde Music
Websites: Bandcamp | Facebook
Releases Worldwide: January 30th, 2026

Mystikus Hugebeard (a practitioner of old sorcery, as it were)

Whenever the yearning for old-school dungeon synth takes me, Old Sorcery has long been one of my first choices. However, I’m embarrassed to admit that during my preparatory research, I was rather shocked to learn that Old Sorcery debuted as recently as 2017 with Realms of Magickal Sorrow. I’d just assumed Old Sorcery has been around since, I don’t know, time immemorial, only because Old Sorcery so effortlessly plays that sort of raw, old school dungeon synth that you’d find on a cassette tape tucked away next to a Jim Kirkwood or Depressive Silence. I’m grateful that Spicie Forrest clued me in on this release and allowed me to double review with him, such that I could further inform our readers of the truly quality dungeon synth act that Old Sorcery is. This opportunity has not presented itself in a way I’d anticipated, however, because The Outsider is not merely dungeon synth like most Old Sorcery releases, but also an album of raw, wintry black metal.

As The Outsider opens in “Magick Triumph,” rumbling horns and scattered synths set the stage for a classic Swords n’ Sorcery experience typical to the Old Sorcery oeuvre, until a grimy guitar chord descends like a fog. It’s worth mentioning that Old Sorcery has traveled this blackened road before with 2020’s Sorrowcrown, but it’s done exceptionally well here. It’s the kind of frigid black metal you’d hear from Paysage d’Hiver and Lunar Aurora, with a similarly raw production style to boot. An overly raw-sounding mix that sacrifices too much listenability for “authenticity” is an immediate album-killer for me, but The Outsider is in that perfect sweet spot. The tremolos and blast-beats buzz with wintry chill and the vocals are way, way in the back, and the synths are always able to cut through the din. The mix has that nice, approachable sort of buzz, like just a little too much wine.4 Still, headphones will definitely be your friend for this album.

Old Sorcery weaves dungeon synth and black metal together such that each is stronger for the other’s presence, effectively playing off each other’s strengths. The dungeon synth elements in The Outsider enjoy an active melodic role in the heavier songs, the inviting, pleasant tones of old-school dungeon synth exuding warmth amidst the cold black metal. It makes for some standout moments, like frostbiting synths fading in and out through stormy guitar riffs (“Magick Triumph”), or a crystalline melody ringing hopeful above rhythmic tremolos and strings (“Where Sorrow Reigns”). “The Interior Gates of the True Soul” is an exquisite blend of synths and metal with an energy that almost reminds of Khonsu, a percussive, mystical synth melody warping, shifting, driving the song forward atop rolling tremolos. There is, naturally, a great deal of care in The Outsider’s construction of atmosphere, but the melodic focus given to the synths in relation to the black metal feels quite refreshing for the genre. As such, The Outsider rarely feels passive even across its length and maintains a strong sense of engagement from moment to moment.

Speaking of length, The Outsider is notably on the longer side, clocking in at over 70 minutes. But I find that Old Sorcery manages the time well with a healthy spread of longer and shorter songs, coupled with their diverse songwriting approach. The Outsider begins and ends with its dramatic epics, as the bulk of the album swirls through cackling, malevolent melodies (“Barrowgrim Asylum”), softer dungeon synth proper (“Innigkeit,” “The Pain Threshold”), and fantastical electronic/metal harmonies (“The Interior Gates of the True Soul”). There’s nary a weak link on the album, but while the staccato, electronic synth tones work wonders in “Magick Triumph” and “The Interior Gates of the True Soul,” I wish they were utilized a bit more in the ambient tracks. “The Pain Threshold” technically fits that bill, but it’s written in such a way that’s more sweeping and orchestral. It would’ve been nice to see the sharper synth tones common to Old Sorcery’s other works explored in a space less dominated by chaotic black metal, that I might appreciate them in clearer focus.

All in all, The Outsider is another rock-solid album by an artist who has consistently delivered great music, even though this album is a rare break from the Old Sorcery mold. It’s well-paced, well-written dungeon synth/black metal that is always good, and often great. I’ve often joked that this hellsite needs more goddamn dungeon synth, and The Outsider is my perfect specimen: just metal enough to bypass Steel’s gaze, yet with enough dungeon synth that I don’t look out of place wearing my wizard robes while listening to it. I furthermore suspect that my Spicie friend has delivered similarly positive tidings, so now that you’ve had two exceedingly trustworthy goobers tell you how good this album is, just go listen to the damn thing.

Rating: Very Good!

Someone told me that the Sojourner was showing events in their local timezone instead of the Brussels timezone. I added time conversations during COVID when FOSDEM was fully remote, but I don't think it makes sense anymore, when most of the participants are here in person.

It's changed now, please let me know if you think it's a bad idea and you prefer showing all events in the local timezone (I can add a switch, etc.).

https://fosdem.sojourner.rocks/2026

#sojourner #fosdem #fosdem2026

Someone told me that the Sojourner was showing events in their local timezone instead of the Brussels timezone. I added time conversations during COVID when FOSDEM was fully remote, but I don't think it makes sense anymore, when most of the participants are here in person.

It's changed now, please let me know if you think it's a bad idea and you prefer showing all events in the local timezone (I can add a switch, etc.).

https://fosdem.sojourner.rocks/2026

#sojourner #fosdem #fosdem2026

Someone told me that the Sojourner was showing events in their local timezone instead of the Brussels timezone. I added time conversations during COVID when FOSDEM was fully remote, but I don't think it makes sense anymore, when most of the participants are here in person.

It's changed now, please let me know if you think it's a bad idea and you prefer showing all events in the local timezone (I can add a switch, etc.).

https://fosdem.sojourner.rocks/2026

#sojourner #fosdem #fosdem2026

https://www.europesays.com/nl/71081/ Remina – The Silver Sea #Amusement #AvantgardeMusic #doom #DoomMetal #draconian #Dutch #Entertainment #gothic #GothicMetal #HeikeLanghans #MikeLamb #Music #Muziek #Nederland #Nederlanden #Nederlands #Netherlands #NL #recensie #remina #review #sojourner #TheSilverSea #ZwareMetalen

Each rolling #robot is more agile and independent. Twenty-five years ago #Sojourner made it to #Mars 🔴. Four more #NASA rovers, each more capable and complex than the last, have surveyed the Red Planet. In May 2021, #China 🇨🇳 became the second nation to successfully place a rover on Mars. The Mars rovers show what humankind can accomplish 🦾 on another planet https://www.sciencenews.org/article/mars-rover-robot-red-planet-history-nasa-china

Each rolling #robot is more agile and independent. Twenty-five years ago #Sojourner made it to #Mars 🔴. Four more #NASA rovers, each more capable and complex than the last, have surveyed the Red Planet. In May 2021, #China 🇨🇳 became the second nation to successfully place a rover on Mars. The Mars rovers show what humankind can accomplish 🦾 on another planet https://www.sciencenews.org/article/mars-rover-robot-red-planet-history-nasa-china

Each rolling #robot is more agile and independent. Twenty-five years ago #Sojourner made it to #Mars 🔴. Four more #NASA rovers, each more capable and complex than the last, have surveyed the Red Planet. In May 2021, #China 🇨🇳 became the second nation to successfully place a rover on Mars. The Mars rovers show what humankind can accomplish 🦾 on another planet https://www.sciencenews.org/article/mars-rover-robot-red-planet-history-nasa-china

Each rolling #robot is more agile and independent. Twenty-five years ago #Sojourner made it to #Mars 🔴. Four more #NASA rovers, each more capable and complex than the last, have surveyed the Red Planet. In May 2021, #China 🇨🇳 became the second nation to successfully place a rover on Mars. The Mars rovers show what humankind can accomplish 🦾 on another planet https://www.sciencenews.org/article/mars-rover-robot-red-planet-history-nasa-china

Each rolling #robot is more agile and independent. Twenty-five years ago #Sojourner made it to #Mars 🔴. Four more #NASA rovers, each more capable and complex than the last, have surveyed the Red Planet. In May 2021, #China 🇨🇳 became the second nation to successfully place a rover on Mars. The Mars rovers show what humankind can accomplish 🦾 on another planet https://www.sciencenews.org/article/mars-rover-robot-red-planet-history-nasa-china

’Mech Manual: Sojourner B

Produced on Donegal after Clan Wolf-in-Exile’s retreat from Arc Royal, the Sojourner’s production runs are split between the Clan and the Lyran Commonwealth. Where the other designs produced as part of that arrangement have long been staples among Clan Wolf-in-Exile forces, the Sojourner is being produced for the first time. It was designed to be rugged and dependable in a time of chaos and change.

The B configuration of the Sojourner pairs ER pulse lasers with the Sojourner’s actuator enhancement system to have superb long-range accuracy. It can be found amongst the forces of the Lyran Commonwealth and Clan Wolf.

Read This First

• Use your supercharger and jump jets to get into a good firing position
• Act as a sniper, AES makes your ER pulse laser just as accurate as normal pulse weapons
• Use your SRMs to score critical hits against targets that have holes in their armor
• Be careful about going all-out, you will heat up fast when jumping and firing everything

Sojourner B

• Role: Sniper
• Tech Base: Clan (3147)
• Chassis: 60 tons (Endo Steel)
• Movement: 4 / 6 (8)
  • Jumping: 4
• Armor: 201 (Ferro Fibrous)
• Heat Sinks: 14 (28)
• Weapons:
  • ER Large Pulse Laser × 2
  • Streak SRM 6 (ammo: 15)
• Equipment:
  • ECM Suite
  • AES
  • Supercharger
  • CASE II
• Design Quirks:
  • Easy to Maintain
  • Easy to Pilot
  • Rugged ×2
• Battle Value: 2,397

Mobility

The Sojourner has an unusual movement profile for a Clan heavy OmniMech. Rather than the 5 / 8 movement typical of iconic designs like the Mad Dog, Summoner, and Timber Wolf, its standard fusion engine only provides it with a 4 / 6 profile. Then it has a supercharger that can allow it to get up to 8 running MP in short sprints, and 4 jump jets to allow it to deal with rough terrain. Without the supercharger, it can only achieve a +2 target movement modifier, but at a supercharged sprint, it can reach +3. With the B configuration geared towards acting as a sniper, the movement boosts of the supercharger or jump jets are generally best used to quickly reach good firing positions.

Durability

The Sojourner chassis carries maximum armor for a 60-ton ‘Mech, and its standard fusion engine means that it can remain operational even with the loss of both side torsos. The only explosive component carried by the B configuration is the ammo for its streak SRM 6. There is only a 14% chance that a critical hit to the left arm will strike the ammo, and even when that happens, the bin is protected by CASE II. Overall, opponents will need to work hard to take down the Sojourner B thanks to its rugged design.

Weaponry

The main armament of the B configuration is a pair of ER large pulse lasers. These are mounted in the arm with AES which allows them to match the accuracy of a normal large pulse laser at longer ranges. Those two lasers are backed up by a streak SRM 6. It only has about half of the effective range of the lasers, but the missiles can be used to find any holes the lasers have opened in a target’s armor and score critical hits.

All of the B configuration’s weapons are arm-mounted. Both lasers are in the right arm, and the SRMs are in the left. This means that it is capable of firing at targets in any direction. The lack of torso-mounted weapons can mean that it loses its offensive capabilities faster than some of its peers.

The Sojourner B carries a single ton of ammo for its streak SRM 6. That allows for the launcher to fire 15 times. Combined with the streak system’s ammo efficiency, that should be more than enough for any engagement.

Heat Management

ER large pulse lasers run hot, so the Sojourner B can run into heat problems if its MechWarrior is not careful. It has 14 double heat sinks for 28 cooling capacity. Each laser generates 13 heat when fired. That means that at a run, the Sojourner is heat neutral as long as it is only using its lasers. Firing the streak SRM launcher adds another 4 points of heat, and jumping can add 2 more over running. That puts the B configuration at 6 heat over budget if it maxes out everything. One turn of that is enough to slow it down to assault ‘Mech speeds, and a second gets it perilously close to risking shutdown.

Brawling

The B configuration is not well-suited to physical combat. It has a full set of actuators, including a fist, in its left arm, but its streak SRM 6 will almost always be a better choice than a punch. Its other arm is even more skewed towards ranged combat with the two pulse lasers and no lower arm. Instead, the Sojourner should focus on kicks when it finds itself at point-blank range.

OmniMech Chassis

The Sojourner is an OmniMech, so it can be quickly reconfigured between battles and is capable of carrying mechanized battle armor. As a battle armor carrier, its speed is a disadvantage, but with only arm-mounted weapons, the B configuration does not lose any of its own firepower when battle armor are mounted on it. The Sojourner chassis has its supercharger and right arm AES hard-mounted which reduces its flexibility a bit and encourages any primary weapons to be located in its right arm.

Miniature

Iron Wind Metals sells a miniature for the Sojourner B. They also offer miniatures for the Prime and C configurations. During a game, any of those three will work for representing any Sojourner configuration on the battlefield.

Sources

• Recognition Guide Vol. 2: ilClan
• Recognition Guide: ilClan Vol. 2
• Master Unit List
• Sarna

More ’Mech Manuals

#BattleTech #MechManual #Sojourner

’Mech Manual: Sojourner Prime

The Sojourner entered production after Clan Jade Falcon defeated the Kell Hounds and Clan Wolf-in-Exile on Arc Royal. The survivors of Clan Wolf-in-Exile relocated to Donegal and launched an effort to rebuild their forces. In addition to building as many of their existing designs as possible, the exiled Wolves also began to manufacture the Sojourner.

Thanks to the partnership between Clan Wolf-in-Exile and the Lyran Commonwealth, they shared the output of the Sojourner production line. Some of the design also reached Clan Wolf during the Dark Age, and with the exiled Wolves rejoining Clan Wolf on Terra, many of the Sojourners are now operating under the banner of the reborn Star League.

Read This First

• Get to a good firing position and act as a sniper
• Your plasma cannon’s effectiveness varies a lot with targets – focus it on vehicles, infantry, buildings, or ’Mechs where it can push up their heat to the point of taking penalties
• Be careful with when you engage your supercharger

Sojourner Prime

• Role: Sniper
• Tech Base: Clan (3147)
• Chassis: 60 tons (Endo Steel)
• Movement: 4 / 6 (8)
  • Jumping: 3
• Armor: 201 (Ferro Fibrous)
• Heat Sinks: 10 (20)
• Weapons:
  • Gauss Rifle (ammo: 16)
  • ER Large Laser
  • Plasma Cannon (ammo: 10)
• Equipment:
  • AES
  • Supercharger
  • CASE II
• Design Quirks:
  • Easy to Maintain
  • Easy to Pilot
  • Rugged (×2)
• Battle Value: 2,491

Mobility

Unlike most Clan heavy OmniMechs, the Sojourner chassis is not built for a cavalry role. Its 4 / 6 movement profile means that it is slower than average for a heavy ’Mech, especially a 60-ton one. It does have a supercharger that can give it a more competitive top speed with shorts bursts of running at 8 MP, but every use comes with risk. The best option is going to be to hold that in reserve for turns when it is necessary to reach a valuable position, and avoid consecutive use to minimize the risk of taking engine damage. With its normal movement profile only allowing for a +2 target movement modifier, the Sojourner will be better off standing in defensive terrain than trying to evade incoming fire with movement.

In the Prime configuration, the Sojourner also mounts 3 jump jets. This is useful to bypass particularly dense terrain, such as leaping to the top of a level 3 building or up a hill covered in woods, but otherwise offers very little benefit compared to staying on the ground.

Durability

The Sojourner chassis is rugged. It has maximum armor for a 60-ton ’Mech and a standard engine that allows it to continue operating even after losing its side torsos. The only explosive component in the Prime configuration is the gauss rifle in the right arm, and that location has CASE II to minimize the impact of it being hit.

Weaponry

The Prime configuration of the Sojourner has a gauss rifle as its primary weapon with an ER large laser and a plasma cannon as its secondary weapons. The rifle and laser give it the potential to deliver two significant hits at ranges in excess of 20 hexes. The plasma cannon can hinder opposing ’Mechs with additional heat or do considerable damage to vehicles, infantry, and buildings.

The gauss rifle is in the Sojourner’s AES equipped right arm which gives it both improved accuracy and a wide firing arc. It does suffer from a minimum range though, so even though it can be fired directly behind the ’Mech, it can be lackluster against short-range backstabbers. The other two weapons are in the left torso and can only fire into the Sojourner’s front arc.

Two of the Sojourner Prime’s three weapons require ammunition. It has two tons for the gauss rifle and one for the plasma rifle. That is 16 and 10 shots respectively, so in most engagements, it will have enough ammunition to fire whenever it has a shot.

Heat Management

In the Prime configuration, the Sojourner will usually build some heat during a battle. It has 10 double heat sinks and its weapons will produce 20 heat when its fires them all, so each turn of that it will overheat by whatever heat its movement generates. If it is acting as a sniper standing, then it can fire indefinitely, but it can only fight on the move for a couple turns before starting to slow down. When it does get hot, a single turn of holding fire with either the large laser or plasma cannon, depending on available targets, will give it a chance to cool back off.

Brawling

In the Prime configuration, the Sojourner doesn’t generally want to be at point-blank range due to its gauss rifle’s minimum range. When it does find itself there, its left arm is free for punching. It has a full set of actuators in that arm and no weapons, so the punch for 6 damage is a good choice with no real downsides. It can also kick for 12 damage, but that carries the risk of falling over on a miss.

OmniMech Chassis

As an OmniMech, the Sojourner can carry mechanized battle armor and be reconfigured between engagements. The Prime configuration does lose the ability to use its laser or plasma cannon when battle armor is mounted. Its relatively slow speed also limits its utility for delivering battle armor to an objective. For reconfiguration, the Sojourner hard mounts its right arm AES and supercharger which reduces some of its flexibility and encourages the placement of the main weapons in its one arm.

Miniature

Iron Wind Metals has a miniature for the Sojourner Prime. They also offer kits for the B and C configurations, so you can pick the one that you like the most and use it to represent any Sojourner config on the table.

Sources

• Recognition Guide Vol. 2: ilClan
• Recognition Guide: ilClan Vol. 2
• Master Unit List
• Sarna

More ’Mech Manuals

#BattleTech #MechManual #Sojourner

Martian Memories

Advances in NASA Imaging Changed How World Sees Mars

https://www.jpl.nasa.gov/news/advances-in-nasa-imaging-changed-how-world-sees-mars

#Mars #Mariner4 #Viking1 #Sojourner #Spirit #Opportunity #MRO #HiRISE #Curiosity #Perseverance #Ingenuity #history #science #HistoryOfScience #MartianMemories

Martian Memories

Advances in NASA Imaging Changed How World Sees Mars

https://www.jpl.nasa.gov/news/advances-in-nasa-imaging-changed-how-world-sees-mars

#Mars #Mariner4 #Viking1 #Sojourner #Spirit #Opportunity #MRO #HiRISE #Curiosity #Perseverance #Ingenuity #history #science #HistoryOfScience #MartianMemories

Martian Memories

Advances in NASA Imaging Changed How World Sees Mars

https://www.jpl.nasa.gov/news/advances-in-nasa-imaging-changed-how-world-sees-mars

#Mars #Mariner4 #Viking1 #Sojourner #Spirit #Opportunity #MRO #HiRISE #Curiosity #Perseverance #Ingenuity #history #science #HistoryOfScience #MartianMemories

Martian Memories

Advances in NASA Imaging Changed How World Sees Mars

https://www.jpl.nasa.gov/news/advances-in-nasa-imaging-changed-how-world-sees-mars

#Mars #Mariner4 #Viking1 #Sojourner #Spirit #Opportunity #MRO #HiRISE #Curiosity #Perseverance #Ingenuity #history #science #HistoryOfScience #MartianMemories

Martian Memories

Advances in NASA Imaging Changed How World Sees Mars

https://www.jpl.nasa.gov/news/advances-in-nasa-imaging-changed-how-world-sees-mars

#Mars #Mariner4 #Viking1 #Sojourner #Spirit #Opportunity #MRO #HiRISE #Curiosity #Perseverance #Ingenuity #history #science #HistoryOfScience #MartianMemories

https://www.europesays.com/uk/257556/ Advances in NASA Imaging Changed How World Sees Mars #Ingenuity(Helicopter) #Mariner4 #Mars #Mars2020 #MarsPathfinder #MarsReconnaissanceOrbiter(MRO) #Opportunity(Rover) #PerseveranceRover #Science #Sojourner(Rover) #Space #UK #UnitedKingdom #Viking1 #Viking2

#Ingress #Sojourner #Sojourner3600days

#Ingress #Sojourner #Sojourner3600days

#Ingress #Sojourner #Sojourner3600days

#Ingress #Sojourner #Sojourner3600days

Fellwarden – Legend: Forged In Defiance Review

By Mystikus Hugebeard

Fellwarden is the solo atmospheric black metal project of The Watcher, the vocalist and co-founder of Fen. Fen has enjoyed a solid chunk of praise over the years from the AMG council, and I myself have always regarded Carrion Skies as an exemplar of quality atmoblack. But it was not this promising pedigree that inspired me to claim Fellwarden, for I wasn’t aware of it on first contact. I was lead by my simple love for the gentler, atmospheric side of metal—a quality I’m told I share with Fellwarden’s previous reviewer, Emya. Emya did not look favorably on Wreathed in Mourncloud, Fellwarden’s previous release, citing it as dull, unmemorable yoga-metal. Perhaps a fresh set of ears is exactly what’s needed to yield a more favorable outlook on Fellwarden’s latest opus, Legend: Forged In Defiance.

As it so happens, I think Legend is Fellwarden’s best work to date. Musically, the formula is familiar both to the atmoblack genre as a whole and Fellwarden’s previous works. The blast beats, tremolos, and The Watcher’s slightly snarling growls sound, coincidentally, a lot like Fen, while the backing clean vocals construct a somber and expansive ambience similar to Saor or Sojourner. The harmonic interplay of the guitars and the vocals is very pretty, as has always been the case with Fellwarden (Fenwarden?), but what makes Legend’s music more engaging this go around is the small matter of a much more present, urgent mix. It’s the kind of production that basically unlocks the band’s potential, where the music finally sounds like it should. The guitars, previously a distant suggestion, are placed farther forward, giving them a satisfying immediacy even as the songwriting emphasizes the sweeping harmonies and the strength of Legend’s atmosphere.

On the topic of atmosphere, Legend is one of classical heroic fantasy, a tribute to the late David Gemmell’s fantasy series of the same name, and this fantastical influence translates to the music of Legend rather well, illuminating an unpleasant world that is pleasant to inhabit as a listener. Blood-soaked battlefields and pale, grassy hills are heard in the grim “Despair,” while the harmonizing guitars in “Renewed Hope” and “Desperation” exude a lonely, mountainous chill. There is a real richness to the atmosphere; the opening riffs of “Renewed Hope” convey the earnest masculinity of a typical sword-wielding hero, contrasting the mournful vocal harmonies of “Desperation,” “Serenity” and “Death” that illustrate the sorrow and loss inherent to a hero’s journey. The lyrics, while thematically appropriate, are a little harder to take seriously. Granted, I know the source material is the literary equivalent to a Boris Vallejo painting, but choice lines like “he needs to be able to know that he is a man” (“Renewed Hope”) or “a man must pass something on, otherwise he is useless” (“Death”) can’t help but induce eye rolls.

Rich though the atmosphere is, it’s typically more in the background as a foundation for the music to build upon. But the opener “Exultance” strikes the perfect balance between atmosphere and music in a way that heightens them both, and it dominates my recollection of the album. The melodies have an invigorating Highlander flair to them, while the subtle, vital detail of the forceful exhalation of the vocals further breathes life into that Highlander feel—it’s an exciting energy that the rest of the album sadly doesn’t follow up on. Considering Legend’s excellent production job, I wish the songs after “Exultance” leaned further into its urgency. It doesn’t help that “Exultance” is followed by “Despair,” whose grimdark baritone vocals don’t quite land and counteract the high bar set by the opener. The remainder of Legend isn’t exactly bad in comparison to “Exultance,” and it’s carried by the strength of The Watcher’s compositional ear for pleasant harmonies. But while Legend is well-composed and appealing, despite all the fantasy themes of masculinity and defiance, few moments truly excite the way “Exultance” does.

Not to outsource my reviews to our dearly departed writers, but I’d like to highlight something Emya said in her Wreathed in Mourncloud review that’s important when talking about Legend: “…Fellwarden has [not] yet released an album which lives up to their potential.” In many ways, Legend represents that potential being realized. The cleaner production enriches the music and allows the fantastical atmosphere to be enjoyed in all its nuance. However, an exciting song like “Exultance” demonstrates that there are depths to Fellwarden’s potential yet unplumbed. I look forward to what Fellwarden does next.

Rating: Good!
DR: 7 | Format Reviewed: 320kbps
Label: Eisenwald
Websites: facebook | bandcamp
Releases Worldwide: June 14th, 2024

#2024 #30 #AtmosphericBlackMetal #BlackMetal #Eisenwald #EnglishMetal #Fellwarden #Fen #Jun24 #LegendForgedInDefiance #Review #Reviews #Saor #Sojourner #WreathedInMourncloud

Fellwarden – Legend: Forged In Defiance Review

By Mystikus Hugebeard

Fellwarden is the solo atmospheric black metal project of The Watcher, the vocalist and co-founder of Fen. Fen has enjoyed a solid chunk of praise over the years from the AMG council, and I myself have always regarded Carrion Skies as an exemplar of quality atmoblack. But it was not this promising pedigree that inspired me to claim Fellwarden, for I wasn’t aware of it on first contact. I was lead by my simple love for the gentler, atmospheric side of metal—a quality I’m told I share with Fellwarden’s previous reviewer, Emya. Emya did not look favorably on Wreathed in Mourncloud, Fellwarden’s previous release, citing it as dull, unmemorable yoga-metal. Perhaps a fresh set of ears is exactly what’s needed to yield a more favorable outlook on Fellwarden’s latest opus, Legend: Forged In Defiance.

As it so happens, I think Legend is Fellwarden’s best work to date. Musically, the formula is familiar both to the atmoblack genre as a whole and Fellwarden’s previous works. The blast beats, tremolos, and The Watcher’s slightly snarling growls sound, coincidentally, a lot like Fen, while the backing clean vocals construct a somber and expansive ambience similar to Saor or Sojourner. The harmonic interplay of the guitars and the vocals is very pretty, as has always been the case with Fellwarden (Fenwarden?), but what makes Legend’s music more engaging this go around is the small matter of a much more present, urgent mix. It’s the kind of production that basically unlocks the band’s potential, where the music finally sounds like it should. The guitars, previously a distant suggestion, are placed farther forward, giving them a satisfying immediacy even as the songwriting emphasizes the sweeping harmonies and the strength of Legend’s atmosphere.

On the topic of atmosphere, Legend is one of classical heroic fantasy, a tribute to the late David Gemmell’s fantasy series of the same name, and this fantastical influence translates to the music of Legend rather well, illuminating an unpleasant world that is pleasant to inhabit as a listener. Blood-soaked battlefields and pale, grassy hills are heard in the grim “Despair,” while the harmonizing guitars in “Renewed Hope” and “Desperation” exude a lonely, mountainous chill. There is a real richness to the atmosphere; the opening riffs of “Renewed Hope” convey the earnest masculinity of a typical sword-wielding hero, contrasting the mournful vocal harmonies of “Desperation,” “Serenity” and “Death” that illustrate the sorrow and loss inherent to a hero’s journey. The lyrics, while thematically appropriate, are a little harder to take seriously. Granted, I know the source material is the literary equivalent to a Boris Vallejo painting, but choice lines like “he needs to be able to know that he is a man” (“Renewed Hope”) or “a man must pass something on, otherwise he is useless” (“Death”) can’t help but induce eye rolls.

Rich though the atmosphere is, it’s typically more in the background as a foundation for the music to build upon. But the opener “Exultance” strikes the perfect balance between atmosphere and music in a way that heightens them both, and it dominates my recollection of the album. The melodies have an invigorating Highlander flair to them, while the subtle, vital detail of the forceful exhalation of the vocals further breathes life into that Highlander feel—it’s an exciting energy that the rest of the album sadly doesn’t follow up on. Considering Legend’s excellent production job, I wish the songs after “Exultance” leaned further into its urgency. It doesn’t help that “Exultance” is followed by “Despair,” whose grimdark baritone vocals don’t quite land and counteract the high bar set by the opener. The remainder of Legend isn’t exactly bad in comparison to “Exultance,” and it’s carried by the strength of The Watcher’s compositional ear for pleasant harmonies. But while Legend is well-composed and appealing, despite all the fantasy themes of masculinity and defiance, few moments truly excite the way “Exultance” does.

Not to outsource my reviews to our dearly departed writers, but I’d like to highlight something Emya said in her Wreathed in Mourncloud review that’s important when talking about Legend: “…Fellwarden has [not] yet released an album which lives up to their potential.” In many ways, Legend represents that potential being realized. The cleaner production enriches the music and allows the fantastical atmosphere to be enjoyed in all its nuance. However, an exciting song like “Exultance” demonstrates that there are depths to Fellwarden’s potential yet unplumbed. I look forward to what Fellwarden does next.

Rating: Good!
DR: 7 | Format Reviewed: 320kbps
Label: Eisenwald
Websites: facebook | bandcamp
Releases Worldwide: June 14th, 2024

#2024 #30 #AtmosphericBlackMetal #BlackMetal #Eisenwald #EnglishMetal #Fellwarden #Fen #Jun24 #LegendForgedInDefiance #Review #Reviews #Saor #Sojourner #WreathedInMourncloud

For #SlowSunday:

Remina: Cinderfall

https://song.link/hn8gbtqm0hqhk

#GothicDoom

FFO #GUHTS #ISON #Sojourner

For #SlowSunday:

Remina: Cinderfall

https://song.link/hn8gbtqm0hqhk

#GothicDoom

FFO #GUHTS #ISON #Sojourner

For #SlowSunday:

Remina: Cinderfall

https://song.link/hn8gbtqm0hqhk

#GothicDoom

FFO #GUHTS #ISON #Sojourner

For #SlowSunday:

Remina: Cinderfall

https://song.link/hn8gbtqm0hqhk

#GothicDoom

FFO #GUHTS #ISON #Sojourner

Sojourner Truth Day
Statue and plaza-honored
Two centuries on

#Haiku #OneHaikuADay #WritersCollective #writingcommunity #BackToHaiku #SojournerTruth #Sojourner #Truth #Akron #Ohio #Freedom #Liberty #Suffrage #Women #Abolition

May 30, 2024

Sojourner Truth Day
Statue and plaza-honored
Two centuries on

#Haiku #OneHaikuADay #WritersCollective #writingcommunity #BackToHaiku #SojournerTruth #Sojourner #Truth #Akron #Ohio #Freedom #Liberty #Suffrage #Women #Abolition

May 30, 2024

Hand of Kalliach – Corryvreckan Review

By Eldritch Elitist

I loathe the unspoken limitations of genre qualifiers. I am telling you right now that I’m presenting you with a specimen of melodic death/folk metal. As you read that phrase, your brain probably immediately jumped to Ensiferum. I can’t say I blame you, as Ensiferum was one of the first and arguably the best at hybridizing melodeath and folk music. But that same presumption might lead your expectations towards Hand of Kalliach astray. A Scottish husband and wife duo, Hand of Kalliach is self-described as melodic death metal that is interwoven with Celtic and Gaelic folk music and has been making wholly distinct music defying implied genre confines since 2020. Their yet-brief existence has already spawned an independent EP and LP, and now a sophomore full-length under the Prosthetic Records banner. Swift underground successes and unique sonic signifiers are all well and good, but when it comes to Corryvreckan, does innovation translate to a worthwhile listen?

To some of those expecting more traditional melodeath thrills, the answer may well be “no.” Yet as someone who traditionally prefers melodeath when it sticks to the hits, my answer is nonetheless a resounding “fuck yes.” Hand of Kalliach plays what I can best describe as atmospheric melodic death metal—hammer-on licks dance with crunchy, utilitarian death metal riffs amidst backdrops of ethereal vocals, to borderline hypnotic effect. If I allow myself a crumb of reductiveness, this approach sounds like a hybrid of Amon Amarth’s instrumentation and Sojourner’s spellbinding, Summoning-adjacent aesthetic. Hand of Kalliach nailed this approach with 2021’s Samhainn, and Corryvreckan enshrines the formula as well as any sophomore record ever has. Its writing feels tighter, song-to-song quality is more consistent, and in general, it gives me exactly what I wanted coming off of the preceding Samhainn: more.

While Corryvreckan provides exactly what I hoped, I can’t deny its potential for further refinement. This record may excel through consistency, but in retrospect, Samhainn had brighter highlights. That record’s best songs (“Beneath Starlit Waters” and “Each Uisge”) remain Hand of Kalliach’s most ambitious; Corryvreckan’s “Three Seas” and “Of Twilight and the Pyre” aim for similarly lofty heights, but take a bit too long getting to the point. Corryvreckan’s strengths, then, lie in its short-form material. “Deathless” and “The Cauldron” are masterfully condensed attacks at three minutes apiece, with the former’s knuckle-dragging, fighting game-ready riffs making it my favorite cut of the record. If those superficial thrills were spliced with Samhainn’s towering epics, Corryvreckan could have been the superior record. As-is, I find the two records on equal footing, with differing areas of specialization.

Much of what makes Hand of Kalliach so compelling lies in the contrasting vocal talents of Sophie and John Fraser. The former’s airy, Celtic folk-derived melodies imbue the proceedings with a downright mystical quality, while the latter’s full-throated death metal roars add a significant edge to the already substantial core execution. Together, they make one of the best “beauty and beast” vocal duos I’ve heard. While the vocals are typically lauded as one of Hand of Kalliach’s primary strengths, their engineering jobs are more divisive. Though sorely lacking in dynamism, I kinda love the way this record sounds. Its melodies feel grounded in landscapes and myth, and yet the drums and guitars feel unapologetically synthetic, with the latter’s blunt, sawing tones giving the record a nearly industrial metal vibe. This dichotomy of nature and electricity adds yet another intriguing wrinkle to an already fascinating soundscape.

Bands like Hand of Kalliach are vital to the metal ecosystem, those acts that take a somewhat avant-garde approach in style and songcraft while simultaneously delivering traditional immediacy and pure aggression. I have minor nitpicks with their songwriting – primarily, I wish they’d learn how to end songs in ways that don’t involve an abrupt cutoff – but I remain content, yet ever-curious about how the Frasers’ singular project will evolve going forward. Since I first heard Samhainn, I’ve believed that Hand of Kalliach has a masterpiece tucked away within their craft that will inevitably be unlocked by time and resilience. Corryvreckan may not be revelatory, but it is still a vital step in Hand of Kalliach’s creative journey and solidifies them as one of the most exciting metal bands working today.

Rating: 3.5/5.0
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Prosthetic Records | Bandcamp
Websites: handofkalliach.bandcamp.com | facebook.com/handofkalliach | twitter.com/HKalliach
Releases Worldwide: February 23rd, 2024

#2024 #35 #AmonAmarth #Corryvreckan #Ensiferum #Feb24 #FolkMetal #HandOfKalliach #MelodicDeathMetal #Review #Reviews #ScottishMetal #Sojourner #Summoning

Hand of Kalliach – Corryvreckan Review

By Eldritch Elitist

I loathe the unspoken limitations of genre qualifiers. I am telling you right now that I’m presenting you with a specimen of melodic death/folk metal. As you read that phrase, your brain probably immediately jumped to Ensiferum. I can’t say I blame you, as Ensiferum was one of the first and arguably the best at hybridizing melodeath and folk music. But that same presumption might lead your expectations towards Hand of Kalliach astray. A Scottish husband and wife duo, Hand of Kalliach is self-described as melodic death metal that is interwoven with Celtic and Gaelic folk music and has been making wholly distinct music defying implied genre confines since 2020. Their yet-brief existence has already spawned an independent EP and LP, and now a sophomore full-length under the Prosthetic Records banner. Swift underground successes and unique sonic signifiers are all well and good, but when it comes to Corryvreckan, does innovation translate to a worthwhile listen?

To some of those expecting more traditional melodeath thrills, the answer may well be “no.” Yet as someone who traditionally prefers melodeath when it sticks to the hits, my answer is nonetheless a resounding “fuck yes.” Hand of Kalliach plays what I can best describe as atmospheric melodic death metal—hammer-on licks dance with crunchy, utilitarian death metal riffs amidst backdrops of ethereal vocals, to borderline hypnotic effect. If I allow myself a crumb of reductiveness, this approach sounds like a hybrid of Amon Amarth’s instrumentation and Sojourner’s spellbinding, Summoning-adjacent aesthetic. Hand of Kalliach nailed this approach with 2021’s Samhainn, and Corryvreckan enshrines the formula as well as any sophomore record ever has. Its writing feels tighter, song-to-song quality is more consistent, and in general, it gives me exactly what I wanted coming off of the preceding Samhainn: more.

While Corryvreckan provides exactly what I hoped, I can’t deny its potential for further refinement. This record may excel through consistency, but in retrospect, Samhainn had brighter highlights. That record’s best songs (“Beneath Starlit Waters” and “Each Uisge”) remain Hand of Kalliach’s most ambitious; Corryvreckan’s “Three Seas” and “Of Twilight and the Pyre” aim for similarly lofty heights, but take a bit too long getting to the point. Corryvreckan’s strengths, then, lie in its short-form material. “Deathless” and “The Cauldron” are masterfully condensed attacks at three minutes apiece, with the former’s knuckle-dragging, fighting game-ready riffs making it my favorite cut of the record. If those superficial thrills were spliced with Samhainn’s towering epics, Corryvreckan could have been the superior record. As-is, I find the two records on equal footing, with differing areas of specialization.

Much of what makes Hand of Kalliach so compelling lies in the contrasting vocal talents of Sophie and John Fraser. The former’s airy, Celtic folk-derived melodies imbue the proceedings with a downright mystical quality, while the latter’s full-throated death metal roars add a significant edge to the already substantial core execution. Together, they make one of the best “beauty and beast” vocal duos I’ve heard. While the vocals are typically lauded as one of Hand of Kalliach’s primary strengths, their engineering jobs are more divisive. Though sorely lacking in dynamism, I kinda love the way this record sounds. Its melodies feel grounded in landscapes and myth, and yet the drums and guitars feel unapologetically synthetic, with the latter’s blunt, sawing tones giving the record a nearly industrial metal vibe. This dichotomy of nature and electricity adds yet another intriguing wrinkle to an already fascinating soundscape.

Bands like Hand of Kalliach are vital to the metal ecosystem, those acts that take a somewhat avant-garde approach in style and songcraft while simultaneously delivering traditional immediacy and pure aggression. I have minor nitpicks with their songwriting – primarily, I wish they’d learn how to end songs in ways that don’t involve an abrupt cutoff – but I remain content, yet ever-curious about how the Frasers’ singular project will evolve going forward. Since I first heard Samhainn, I’ve believed that Hand of Kalliach has a masterpiece tucked away within their craft that will inevitably be unlocked by time and resilience. Corryvreckan may not be revelatory, but it is still a vital step in Hand of Kalliach’s creative journey and solidifies them as one of the most exciting metal bands working today.

Rating: 3.5/5.0
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Prosthetic Records | Bandcamp
Websites: handofkalliach.bandcamp.com | facebook.com/handofkalliach | twitter.com/HKalliach
Releases Worldwide: February 23rd, 2024

#2024 #35 #AmonAmarth #Corryvreckan #Ensiferum #Feb24 #FolkMetal #HandOfKalliach #MelodicDeathMetal #Review #Reviews #ScottishMetal #Sojourner #Summoning

@opalmirror

Yup!

Reminds me of earlier #Sojourner, which if I recall correctly was set up to circle #Pathfinder and try, try, try again if it lost contact with lander.

Which I suppose it ended up doing as Pathfinder failed first. That won't have gone on long as Sojourner employed primary batteries extended by PV.

Forlorn in its little electronic heart in any case!

@opalmirror

Yup!

Reminds me of earlier #Sojourner, which if I recall correctly was set up to circle #Pathfinder and try, try, try again if it lost contact with lander.

Which I suppose it ended up doing as Pathfinder failed first. That won't have gone on long as Sojourner employed primary batteries extended by PV.

Forlorn in its little electronic heart in any case!

@opalmirror

Yup!

Reminds me of earlier #Sojourner, which if I recall correctly was set up to circle #Pathfinder and try, try, try again if it lost contact with lander.

Which I suppose it ended up doing as Pathfinder failed first. That won't have gone on long as Sojourner employed primary batteries extended by PV.

Forlorn in its little electronic heart in any case!

@opalmirror

Yup!

Reminds me of earlier #Sojourner, which if I recall correctly was set up to circle #Pathfinder and try, try, try again if it lost contact with lander.

Which I suppose it ended up doing as Pathfinder failed first. That won't have gone on long as Sojourner employed primary batteries extended by PV.

Forlorn in its little electronic heart in any case!

@opalmirror

Yup!

Reminds me of earlier #Sojourner, which if I recall correctly was set up to circle #Pathfinder and try, try, try again if it lost contact with lander.

Which I suppose it ended up doing as Pathfinder failed first. That won't have gone on long as Sojourner employed primary batteries extended by PV.

Forlorn in its little electronic heart in any case!

The #Bible on how to treat #migrants:

Leviticus 19:33 When a stranger sojourns with you in your land, you shall not do him wrong. 34 You shall treat the stranger who sojourns with you as the native among you, and you shall love him as yourself, for you were strangers in the land of Egypt: I am the Lord your God.

Exodus 23:9 You shall not oppress a #sojourner. You know the heart of a sojourner, for you were sojourners in the land of Egypt.

Has Mike Johnson read those bits?

The #Bible on how to treat #migrants:

Leviticus 19:33 When a stranger sojourns with you in your land, you shall not do him wrong. 34 You shall treat the stranger who sojourns with you as the native among you, and you shall love him as yourself, for you were strangers in the land of Egypt: I am the Lord your God.

Exodus 23:9 You shall not oppress a #sojourner. You know the heart of a sojourner, for you were sojourners in the land of Egypt.

Has Mike Johnson read those bits?

The #Bible on how to treat #migrants:

Leviticus 19:33 When a stranger sojourns with you in your land, you shall not do him wrong. 34 You shall treat the stranger who sojourns with you as the native among you, and you shall love him as yourself, for you were strangers in the land of Egypt: I am the Lord your God.

Exodus 23:9 You shall not oppress a #sojourner. You know the heart of a sojourner, for you were sojourners in the land of Egypt.

Has Mike Johnson read those bits?

The #Bible on how to treat #migrants:

Leviticus 19:33 When a stranger sojourns with you in your land, you shall not do him wrong. 34 You shall treat the stranger who sojourns with you as the native among you, and you shall love him as yourself, for you were strangers in the land of Egypt: I am the Lord your God.

Exodus 23:9 You shall not oppress a #sojourner. You know the heart of a sojourner, for you were sojourners in the land of Egypt.

Has Mike Johnson read those bits?

The #Bible on how to treat #migrants:

Leviticus 19:33 When a stranger sojourns with you in your land, you shall not do him wrong. 34 You shall treat the stranger who sojourns with you as the native among you, and you shall love him as yourself, for you were strangers in the land of Egypt: I am the Lord your God.

Exodus 23:9 You shall not oppress a #sojourner. You know the heart of a sojourner, for you were sojourners in the land of Egypt.

Has Mike Johnson read those bits?