#vehemence — Public Fediverse posts

Hanternoz – A Hed an Noz, a Noz, a Noz Review

One of the things I enjoy most about folk metal is that I never know exactly what I’m…
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https://www.newsbeep.com/uk/759062/

One of the things I enjoy most about folk metal is that I never know exactly what I’m going to hear until I press play. This is, of course, due to the fact that folk music in general varies so widely depending on the region from which it originates. Hyver, who runs the label Antiq Records in France, has been crafting medieval-style folk/black metal under various musical projects for some time now. Twelve found plenty to praise in 2021’s Au Fleuve de Loire, notwithstanding its patchwork nature. The latest collection of Hanternoz songs is each about a different type of devil from Breton folklore. From what I can gather, A Hed an Noz, a Noz, a Noz loosely translates as “At Night, At Night, At Night” in Breton. Does this album go bump in the night or does it fall with a flat thud?

A Hed an Noz should sound familiar to those who have heard Hyver’s other work. The bread and butter is still the heroic trem-picked guitars and gallant drumming that one can also hear from Véhémence or (to a lesser extent) Grylle. Hyver’s vocals are as chameleonic as ever, adopting many different shades of demonic rasps, growls, and groans that embody the album’s theme. This diversity in vocal styles is fortunate because the diversity of instrumentation has greatly diminished. This time, Hanternoz mostly takes the Cnoc An Tursa approach of examining folk music through a metal lens without much in the way of actual folk instruments, which are sequestered to the lone instrumental interlude “Pe trouz War an Douar.”

The fact that the bag of tricks from which Hanternoz draws is much smaller ends up holding back A Hed an Noz. It’s a sizable step backward from Au Fleuve de Loire, where the folk music and synths were woven directly into the black metal in a more energetic and dynamic fashion. Hanternoz may have taken to heart Twelve’s prior observation of the compositions feeling stitched together because A Hed an Noz is certainly more cohesive, but at the cost of much of its zeal. To be fair, this is not an issue across the board. Most notably, “La Lessive des Trépassés” is punchy and to the point, with Joanna Maeyens’1 guest vocals overlapping enchantingly with the predominant growls. The production of A Hed an Noz is nice and crisp, especially with regard to the bass mixing, which greatly enriches the guitar lines (“La Peste à Limoges,” “Quand j’ai tué le Roi de la Forêt”).

Yet, these promising core elements of A Hed an Noz are undermined by an overreliance on repetition. Opener “Sur le Chemin des fées” is somehow galloping and plodding at the same time, the triumphant guitars becoming muted as they build up again and again towards a payoff that never comes after nearly 12 minutes. Closing track “Quand j’ai tué le Roi de la Forêt” gets stuck in a mid-paced rut, resulting in a more lethargic sensation than should be warranted given the valiant guitar leads. The long-form songwriting in “La Peste à Limoges” fares better, centered around an infectious, bouncy groove which gets my head bobbing, though the midsection is a tad protracted and disjointed. The charismatic vocal delivery helps but isn’t enough to overcome the fact that no song on A Hed an Noz is justified in being over 6 minutes long, yet most of them are.

Ultimately, A Hed an Noz left less and less of an impression on me the more time I spent with it. The delightful unpredictability from Au Fleuve de Loire is simply not present here. I am left puzzled as to why Hanternoz decided to discard the majority of the toolkit that served them well in the past. There is a fair amount of decent material here that would have done better without as much padding, and it’s worth a listen by anyone who enjoys Hyver’s take on medieval black metal. Just expect less medieval and more monotony this time around.

Rating: 2.5/5.0
DR: 8 | Format Reviewed: 320 kbps mp3
Label: Antiq Records
Websites: antiqofficial.bandcamp.com | facebook.com/people/Hanternoz-Pagan-de-Bretagne
Releases Worldwide: August 3rd, 2026

One of the things I enjoy most about folk metal is that I never know exactly what I’m going to hear until I press play. This is, of course, due to the fact that folk music in general varies so widely depending on the region from which it originates. Hyver, who runs the label Antiq Records in France, has been crafting medieval-style folk/black metal under various musical projects for some time now. Twelve found plenty to praise in 2021’s Au Fleuve de Loire, notwithstanding its patchwork nature. The latest collection of Hanternoz songs is each about a different type of devil from Breton folklore. From what I can gather, A Hed an Noz, a Noz, a Noz loosely translates as “At Night, At Night, At Night” in Breton. Does this album go bump in the night or does it fall with a flat thud?

A Hed an Noz should sound familiar to those who have heard Hyver’s other work. The bread and butter is still the heroic trem-picked guitars and gallant drumming that one can also hear from Véhémence or (to a lesser extent) Grylle. Hyver’s vocals are as chameleonic as ever, adopting many different shades of demonic rasps, growls, and groans that embody the album’s theme. This diversity in vocal styles is fortunate because the diversity of instrumentation has greatly diminished. This time, Hanternoz mostly takes the Cnoc An Tursa approach of examining folk music through a metal lens without much in the way of actual folk instruments, which are sequestered to the lone instrumental interlude “Pe trouz War an Douar.”

The fact that the bag of tricks from which Hanternoz draws is much smaller ends up holding back A Hed an Noz. It’s a sizable step backward from Au Fleuve de Loire, where the folk music and synths were woven directly into the black metal in a more energetic and dynamic fashion. Hanternoz may have taken to heart Twelve’s prior observation of the compositions feeling stitched together because A Hed an Noz is certainly more cohesive, but at the cost of much of its zeal. To be fair, this is not an issue across the board. Most notably, “La Lessive des Trépassés” is punchy and to the point, with Joanna Maeyens’1 guest vocals overlapping enchantingly with the predominant growls. The production of A Hed an Noz is nice and crisp, especially with regard to the bass mixing, which greatly enriches the guitar lines (“La Peste à Limoges,” “Quand j’ai tué le Roi de la Forêt”).

Yet, these promising core elements of A Hed an Noz are undermined by an overreliance on repetition. Opener “Sur le Chemin des fées” is somehow galloping and plodding at the same time, the triumphant guitars becoming muted as they build up again and again towards a payoff that never comes after nearly 12 minutes. Closing track “Quand j’ai tué le Roi de la Forêt” gets stuck in a mid-paced rut, resulting in a more lethargic sensation than should be warranted given the valiant guitar leads. The long-form songwriting in “La Peste à Limoges” fares better, centered around an infectious, bouncy groove which gets my head bobbing, though the midsection is a tad protracted and disjointed. The charismatic vocal delivery helps but isn’t enough to overcome the fact that no song on A Hed an Noz is justified in being over 6 minutes long, yet most of them are.

Ultimately, A Hed an Noz left less and less of an impression on me the more time I spent with it. The delightful unpredictability from Au Fleuve de Loire is simply not present here. I am left puzzled as to why Hanternoz decided to discard the majority of the toolkit that served them well in the past. There is a fair amount of decent material here that would have done better without as much padding, and it’s worth a listen by anyone who enjoys Hyver’s take on medieval black metal. Just expect less medieval and more monotony this time around.

Rating: 2.5/5.0
DR: 8 | Format Reviewed: 320 kbps mp3
Label: Antiq Records
Websites: antiqofficial.bandcamp.com | facebook.com/people/Hanternoz-Pagan-de-Bretagne
Releases Worldwide: August 3rd, 2026

One of the things I enjoy most about folk metal is that I never know exactly what I’m going to hear until I press play. This is, of course, due to the fact that folk music in general varies so widely depending on the region from which it originates. Hyver, who runs the label Antiq Records in France, has been crafting medieval-style folk/black metal under various musical projects for some time now. Twelve found plenty to praise in 2021’s Au Fleuve de Loire, notwithstanding its patchwork nature. The latest collection of Hanternoz songs is each about a different type of devil from Breton folklore. From what I can gather, A Hed an Noz, a Noz, a Noz loosely translates as “At Night, At Night, At Night” in Breton. Does this album go bump in the night or does it fall with a flat thud?

A Hed an Noz should sound familiar to those who have heard Hyver’s other work. The bread and butter is still the heroic trem-picked guitars and gallant drumming that one can also hear from Véhémence or (to a lesser extent) Grylle. Hyver’s vocals are as chameleonic as ever, adopting many different shades of demonic rasps, growls, and groans that embody the album’s theme. This diversity in vocal styles is fortunate because the diversity of instrumentation has greatly diminished. This time, Hanternoz mostly takes the Cnoc An Tursa approach of examining folk music through a metal lens without much in the way of actual folk instruments, which are sequestered to the lone instrumental interlude “Pe trouz War an Douar.”

The fact that the bag of tricks from which Hanternoz draws is much smaller ends up holding back A Hed an Noz. It’s a sizable step backward from Au Fleuve de Loire, where the folk music and synths were woven directly into the black metal in a more energetic and dynamic fashion. Hanternoz may have taken to heart Twelve’s prior observation of the compositions feeling stitched together because A Hed an Noz is certainly more cohesive, but at the cost of much of its zeal. To be fair, this is not an issue across the board. Most notably, “La Lessive des Trépassés” is punchy and to the point, with Joanna Maeyens’1 guest vocals overlapping enchantingly with the predominant growls. The production of A Hed an Noz is nice and crisp, especially with regard to the bass mixing, which greatly enriches the guitar lines (“La Peste à Limoges,” “Quand j’ai tué le Roi de la Forêt”).

Yet, these promising core elements of A Hed an Noz are undermined by an overreliance on repetition. Opener “Sur le Chemin des fées” is somehow galloping and plodding at the same time, the triumphant guitars becoming muted as they build up again and again towards a payoff that never comes after nearly 12 minutes. Closing track “Quand j’ai tué le Roi de la Forêt” gets stuck in a mid-paced rut, resulting in a more lethargic sensation than should be warranted given the valiant guitar leads. The long-form songwriting in “La Peste à Limoges” fares better, centered around an infectious, bouncy groove which gets my head bobbing, though the midsection is a tad protracted and disjointed. The charismatic vocal delivery helps but isn’t enough to overcome the fact that no song on A Hed an Noz is justified in being over 6 minutes long, yet most of them are.

Ultimately, A Hed an Noz left less and less of an impression on me the more time I spent with it. The delightful unpredictability from Au Fleuve de Loire is simply not present here. I am left puzzled as to why Hanternoz decided to discard the majority of the toolkit that served them well in the past. There is a fair amount of decent material here that would have done better without as much padding, and it’s worth a listen by anyone who enjoys Hyver’s take on medieval black metal. Just expect less medieval and more monotony this time around.

Rating: 2.5/5.0
DR: 8 | Format Reviewed: 320 kbps mp3
Label: Antiq Records
Websites: antiqofficial.bandcamp.com | facebook.com/people/Hanternoz-Pagan-de-Bretagne
Releases Worldwide: August 3rd, 2026

One of the things I enjoy most about folk metal is that I never know exactly what I’m going to hear until I press play. This is, of course, due to the fact that folk music in general varies so widely depending on the region from which it originates. Hyver, who runs the label Antiq Records in France, has been crafting medieval-style folk/black metal under various musical projects for some time now. Twelve found plenty to praise in 2021’s Au Fleuve de Loire, notwithstanding its patchwork nature. The latest collection of Hanternoz songs is each about a different type of devil from Breton folklore. From what I can gather, A Hed an Noz, a Noz, a Noz loosely translates as “At Night, At Night, At Night” in Breton. Does this album go bump in the night or does it fall with a flat thud?

A Hed an Noz should sound familiar to those who have heard Hyver’s other work. The bread and butter is still the heroic trem-picked guitars and gallant drumming that one can also hear from Véhémence or (to a lesser extent) Grylle. Hyver’s vocals are as chameleonic as ever, adopting many different shades of demonic rasps, growls, and groans that embody the album’s theme. This diversity in vocal styles is fortunate because the diversity of instrumentation has greatly diminished. This time, Hanternoz mostly takes the Cnoc An Tursa approach of examining folk music through a metal lens without much in the way of actual folk instruments, which are sequestered to the lone instrumental interlude “Pe trouz War an Douar.”

The fact that the bag of tricks from which Hanternoz draws is much smaller ends up holding back A Hed an Noz. It’s a sizable step backward from Au Fleuve de Loire, where the folk music and synths were woven directly into the black metal in a more energetic and dynamic fashion. Hanternoz may have taken to heart Twelve’s prior observation of the compositions feeling stitched together because A Hed an Noz is certainly more cohesive, but at the cost of much of its zeal. To be fair, this is not an issue across the board. Most notably, “La Lessive des Trépassés” is punchy and to the point, with Joanna Maeyens’1 guest vocals overlapping enchantingly with the predominant growls. The production of A Hed an Noz is nice and crisp, especially with regard to the bass mixing, which greatly enriches the guitar lines (“La Peste à Limoges,” “Quand j’ai tué le Roi de la Forêt”).

Yet, these promising core elements of A Hed an Noz are undermined by an overreliance on repetition. Opener “Sur le Chemin des fées” is somehow galloping and plodding at the same time, the triumphant guitars becoming muted as they build up again and again towards a payoff that never comes after nearly 12 minutes. Closing track “Quand j’ai tué le Roi de la Forêt” gets stuck in a mid-paced rut, resulting in a more lethargic sensation than should be warranted given the valiant guitar leads. The long-form songwriting in “La Peste à Limoges” fares better, centered around an infectious, bouncy groove which gets my head bobbing, though the midsection is a tad protracted and disjointed. The charismatic vocal delivery helps but isn’t enough to overcome the fact that no song on A Hed an Noz is justified in being over 6 minutes long, yet most of them are.

Ultimately, A Hed an Noz left less and less of an impression on me the more time I spent with it. The delightful unpredictability from Au Fleuve de Loire is simply not present here. I am left puzzled as to why Hanternoz decided to discard the majority of the toolkit that served them well in the past. There is a fair amount of decent material here that would have done better without as much padding, and it’s worth a listen by anyone who enjoys Hyver’s take on medieval black metal. Just expect less medieval and more monotony this time around.

Rating: 2.5/5.0
DR: 8 | Format Reviewed: 320 kbps mp3
Label: Antiq Records
Websites: antiqofficial.bandcamp.com | facebook.com/people/Hanternoz-Pagan-de-Bretagne
Releases Worldwide: August 3rd, 2026

One of the things I enjoy most about folk metal is that I never know exactly what I’m going to hear until I press play. This is, of course, due to the fact that folk music in general varies so widely depending on the region from which it originates. Hyver, who runs the label Antiq Records in France, has been crafting medieval-style folk/black metal under various musical projects for some time now. Twelve found plenty to praise in 2021’s Au Fleuve de Loire, notwithstanding its patchwork nature. The latest collection of Hanternoz songs is each about a different type of devil from Breton folklore. From what I can gather, A Hed an Noz, a Noz, a Noz loosely translates as “At Night, At Night, At Night” in Breton. Does this album go bump in the night or does it fall with a flat thud?

A Hed an Noz should sound familiar to those who have heard Hyver’s other work. The bread and butter is still the heroic trem-picked guitars and gallant drumming that one can also hear from Véhémence or (to a lesser extent) Grylle. Hyver’s vocals are as chameleonic as ever, adopting many different shades of demonic rasps, growls, and groans that embody the album’s theme. This diversity in vocal styles is fortunate because the diversity of instrumentation has greatly diminished. This time, Hanternoz mostly takes the Cnoc An Tursa approach of examining folk music through a metal lens without much in the way of actual folk instruments, which are sequestered to the lone instrumental interlude “Pe trouz War an Douar.”

The fact that the bag of tricks from which Hanternoz draws is much smaller ends up holding back A Hed an Noz. It’s a sizable step backward from Au Fleuve de Loire, where the folk music and synths were woven directly into the black metal in a more energetic and dynamic fashion. Hanternoz may have taken to heart Twelve’s prior observation of the compositions feeling stitched together because A Hed an Noz is certainly more cohesive, but at the cost of much of its zeal. To be fair, this is not an issue across the board. Most notably, “La Lessive des Trépassés” is punchy and to the point, with Joanna Maeyens’1 guest vocals overlapping enchantingly with the predominant growls. The production of A Hed an Noz is nice and crisp, especially with regard to the bass mixing, which greatly enriches the guitar lines (“La Peste à Limoges,” “Quand j’ai tué le Roi de la Forêt”).

Yet, these promising core elements of A Hed an Noz are undermined by an overreliance on repetition. Opener “Sur le Chemin des fées” is somehow galloping and plodding at the same time, the triumphant guitars becoming muted as they build up again and again towards a payoff that never comes after nearly 12 minutes. Closing track “Quand j’ai tué le Roi de la Forêt” gets stuck in a mid-paced rut, resulting in a more lethargic sensation than should be warranted given the valiant guitar leads. The long-form songwriting in “La Peste à Limoges” fares better, centered around an infectious, bouncy groove which gets my head bobbing, though the midsection is a tad protracted and disjointed. The charismatic vocal delivery helps but isn’t enough to overcome the fact that no song on A Hed an Noz is justified in being over 6 minutes long, yet most of them are.

Ultimately, A Hed an Noz left less and less of an impression on me the more time I spent with it. The delightful unpredictability from Au Fleuve de Loire is simply not present here. I am left puzzled as to why Hanternoz decided to discard the majority of the toolkit that served them well in the past. There is a fair amount of decent material here that would have done better without as much padding, and it’s worth a listen by anyone who enjoys Hyver’s take on medieval black metal. Just expect less medieval and more monotony this time around.

Rating: 2.5/5.0
DR: 8 | Format Reviewed: 320 kbps mp3
Label: Antiq Records
Websites: antiqofficial.bandcamp.com | facebook.com/people/Hanternoz-Pagan-de-Bretagne
Releases Worldwide: August 3rd, 2026

VÉHÉMENCE (França) presenta nou àlbum: "Assiégé pour l'éternité" #Véhémence #Epic #MelodicBlackMetal #Juny2026 #França #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic

VÉHÉMENCE (França) presenta nou àlbum: "Assiégé pour l'éternité" #Véhémence #Epic #MelodicBlackMetal #Juny2026 #França #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic

https://www.europesays.com/be-nl/59769/ Galibot – Catabase | Zware Metalen #2026 #Amusement #antrisch #aorlhac #BE #België #Belgium #BlackMetal #catabase #dauthuz #drauliht #Entertainment #france #Frankrijk #galibot #griffon #houle #LesActeursDeL’ombreProductions #Music #Muziek #recensie #ungfell #véhémence #ZwareMetalen

A quotation from Eric Hoffer

If what we profess is not an organic part of our understanding, we are likely to profess it with vehemence and intolerance. Intolerance is the “Do Not Touch” sign on something that cannot bear touching. We do not mind having our hair ruffled, but we will not tolerate any familiarity with the toupee which covers our baldness.

Eric Hoffer (1902-1983) American writer, philosopher, longshoreman
Passionate State of Mind, Aphorism 62 (1955)

Sourcing, notes: wist.info/hoffer-eric/1909/

#quote #quotes #quotation #qotd #erichoffer #facade #intolerance #sensitivity #touchiness #uncertainty #understanding #vehemence #zeal

A quotation from Eric Hoffer

If what we profess is not an organic part of our understanding, we are likely to profess it with vehemence and intolerance. Intolerance is the “Do Not Touch” sign on something that cannot bear touching. We do not mind having our hair ruffled, but we will not tolerate any familiarity with the toupee which covers our baldness.

Eric Hoffer (1902-1983) American writer, philosopher, longshoreman
Passionate State of Mind, Aphorism 62 (1955)

Sourcing, notes: wist.info/hoffer-eric/1909/

#quote #quotes #quotation #qotd #erichoffer #facade #intolerance #sensitivity #touchiness #uncertainty #understanding #vehemence #zeal

A quotation from Eric Hoffer

If what we profess is not an organic part of our understanding, we are likely to profess it with vehemence and intolerance. Intolerance is the “Do Not Touch” sign on something that cannot bear touching. We do not mind having our hair ruffled, but we will not tolerate any familiarity with the toupee which covers our baldness.

Eric Hoffer (1902-1983) American writer, philosopher, longshoreman
Passionate State of Mind, Aphorism 62 (1955)

Sourcing, notes: wist.info/hoffer-eric/1909/

#quote #quotes #quotation #qotd #erichoffer #facade #intolerance #sensitivity #touchiness #uncertainty #understanding #vehemence #zeal

A quotation from Eric Hoffer

Vehemence is the expression of a blind effort to support and uphold something that can never stand on its own — something rootless, incoherent, and incomplete. Whether it is our own meaningless self we are upholding or some doctrine devoid of evidence, we can do it only in a frenzy of faith.

Eric Hoffer (1902-1983) American writer, philosopher, longshoreman
Passionate State of Mind, Aphorism 60 (1955)

Sourcing, notes: wist.info/hoffer-eric/76046/

#quote #quotes #quotation #qotd #truebeliever #onetrueway #zealot #devotion #enthusiasm #faith #fervor #belief #meaning #passion #vehemence #insistence #zeal

A quotation from Eric Hoffer

Vehemence is the expression of a blind effort to support and uphold something that can never stand on its own — something rootless, incoherent, and incomplete. Whether it is our own meaningless self we are upholding or some doctrine devoid of evidence, we can do it only in a frenzy of faith.

Eric Hoffer (1902-1983) American writer, philosopher, longshoreman
Passionate State of Mind, Aphorism 60 (1955)

Sourcing, notes: wist.info/hoffer-eric/76046/

#quote #quotes #quotation #qotd #truebeliever #onetrueway #zealot #devotion #enthusiasm #faith #fervor #belief #meaning #passion #vehemence #insistence #zeal

A quotation from Eric Hoffer

Vehemence is the expression of a blind effort to support and uphold something that can never stand on its own — something rootless, incoherent, and incomplete. Whether it is our own meaningless self we are upholding or some doctrine devoid of evidence, we can do it only in a frenzy of faith.

Eric Hoffer (1902-1983) American writer, philosopher, longshoreman
Passionate State of Mind, Aphorism 60 (1955)

Sourcing, notes: wist.info/hoffer-eric/76046/

#quote #quotes #quotation #qotd #truebeliever #onetrueway #zealot #devotion #enthusiasm #faith #fervor #belief #meaning #passion #vehemence #insistence #zeal

Track of the Day:

"By Your Bedside" by #Vehemence from their album _Helping the World to See_

Released: 2004
Genre: Melodic Death Metal
From: Phoenix, Arizona USA

This was the track that introduced me to this band. This was one of the inspirations for my own style of drumming. It has great blast beats and tempo changes. The vocals are deep with good screams.

https://youtu.be/JTZJdbh-39k

#deathmetal #music

Track of the Day:

"By Your Bedside" by #Vehemence from their album _Helping the World to See_

Released: 2004
Genre: Melodic Death Metal
From: Phoenix, Arizona USA

This was the track that introduced me to this band. This was one of the inspirations for my own style of drumming. It has great blast beats and tempo changes. The vocals are deep with good screams.

https://youtu.be/JTZJdbh-39k

#deathmetal #music

Track of the Day:

"By Your Bedside" by #Vehemence from their album _Helping the World to See_

Released: 2004
Genre: Melodic Death Metal
From: Phoenix, Arizona USA

This was the track that introduced me to this band. This was one of the inspirations for my own style of drumming. It has great blast beats and tempo changes. The vocals are deep with good screams.

https://youtu.be/JTZJdbh-39k

#deathmetal #music

Track of the Day:

"By Your Bedside" by #Vehemence from their album _Helping the World to See_

Released: 2004
Genre: Melodic Death Metal
From: Phoenix, Arizona USA

This was the track that introduced me to this band. This was one of the inspirations for my own style of drumming. It has great blast beats and tempo changes. The vocals are deep with good screams.

https://youtu.be/JTZJdbh-39k

#deathmetal #music

Track of the Day:

"By Your Bedside" by #Vehemence from their album _Helping the World to See_

Released: 2004
Genre: Melodic Death Metal
From: Phoenix, Arizona USA

This was the track that introduced me to this band. This was one of the inspirations for my own style of drumming. It has great blast beats and tempo changes. The vocals are deep with good screams.

https://youtu.be/JTZJdbh-39k

#deathmetal #music

Grylle – Egrotants, Souffreteux, Cacochymes, Covidards Review

By Twelve

I like Antiq Records. Generally, their albums tread the line between different, powerful, and weird very nicely, so it’s always a treat when one of their new releases happens by the Angry Metal Offices. It should come as no surprise that I’m a fan of Hyvermor. He’s the co-owner of the label and has been a part of several projects that I love—Hanternoz, Véhémence, and Grylle, to name a few. Grylle is perhaps the least “metal” of the three1, and also the folkiest, leaning fully into the medieval themes that serve Hyvermor and Antiq Records so well. Boasting an impressive lineup of guest musicians on all kinds of fun instruments, Egrotants, Souffreteux, Cacochymes, Covidards is the third full-length release from Gylle, and is, as per usual, a treat to explore.

Now, when I say an impressive lineup of guest musicians on all kinds of fun instruments, I mean it. Apart from bass and drums by KK and Cadavre respectively, there are no fewer than seven guest musicians on Egrotants, Souffreteux, Cacochymes, Covidards, whose contributions include a small horn section, citole, bagpipes, flutes, a hurdy gurdy, and something called a mandocello. As a result, Grylle’s music feels more multifaceted than it ever has before. More than previous records, Egrotants, Souffreteux, Cacochymes, Covidards is a black metal album firmly entrenched in medieval and folk themes, with one major difference—nearly all of the leads are performed by what I believe is the mandocello. Nearly all of the tremolo leads are acoustic, and even the distorted guitars are medieval instruments, though those are distorted enough to resemble the electric instruments of today. The result is what I imagine October Falls would sound like if you made them play the metal and acoustic bits at the same time; the riffs have that slick-yet-dark edge to them, while the acoustic sections enliven and enhance.

Of course, that’s not a perfect comparison, because Egrotants, Souffreteux, Cacochymes, Covidards is unquestionably a folk metal album. The gorgeous brass and trumpets (Lazareth) on”Mauvais Sang” work with mandocello and (I think) psaltery to add a shining, hopeful dimension to the song, while the hurdy gurdy (Sparda, Hanternoz, and Créatures) makes “Réservement de Confortale Présence” a uniquely mournful march, evoking Apocalypse Orchestra. Hearing acoustic and stringed instruments race to keep up with a full metal outfit on “Moribond Flétri d’Orgueil” is a fascinating experience, and it makes for an entertaining and strangely uplifting tune. Throughout it all, Hyvermor’s vocals (joined occasionally by La Griesche (Tour d’Ivoire) and Sparda, chant, rasp, and shout out stories for the ages, binding together the eclectic sound in a firmly metal base.

I’m not sure if Grylle has a particular weakness, but there are a number of small things about Egrotants, Souffreteux, Cacochymes, Covidards that keep me from being fully drawn in. “Grande Marche des Covidards” and “Réservement de Confortale Présence” both have nice moments musically, but give the impression of being half-finished, or containing ideas that never made it to full songs. As intro and interlude tracks, they’re easily forgettable, but without them, the album is only about half an hour. With only so much in the way of metal music, every moment has to count, and while most songs are very good—”Le Tropique du Cancer” in particular is exceptional—there are a few less exciting tracks, such as closer “La Triomphe de la Mort.” Hyvermor’s vocals are also an acquired taste; his delivery is expressive and strong but sits in an odd realm of being too strong for medieval folk and not quite dark enough for black metal. I wouldn’t say it doesn’t work, but there are moments here and there where you can imagine an alternate delivery or style suiting the song better. With that said, it is hard to blame Grylle for chasing an authentic sound, and most of the time, it works well.

Egrotants, Souffreteux, Cacochymes, Covidards is a fun album and Grylle is a project to keep an eye on. This is a style of music that is familiar and new, an approach to something established that I’ve never heard before. Grylle has written and performed it extremely well. As ever, I am eager to see where medieval metal goes from here—based on Egrotants, Souffreteux, Cacochymes, Covidards, the possibilities seem endless.

Rating: 3.0/5.0
DR: 8 | Format Reviewed: 320 kb/s mp3
Label: Antiq Records
Websites: grylle.bandcamp.com | facebook.com/grylleofficiel
Releases Worldwide: November 10th, 2024

#2024 #30 #AntiqRecords #ApocalypseOrchestra #BlackMetal #Créatures #EgrotantsSouffreteuxCacochymesCovidards #FolkMetal #FrenchMetal #Grylle #Hanternoz #Nov24 #OctoberFalls #Review #Reviews #TourDIvoire #Vehemence

Grylle – Egrotants, Souffreteux, Cacochymes, Covidards Review

By Twelve

I like Antiq Records. Generally, their albums tread the line between different, powerful, and weird very nicely, so it’s always a treat when one of their new releases happens by the Angry Metal Offices. It should come as no surprise that I’m a fan of Hyvermor. He’s the co-owner of the label and has been a part of several projects that I love—Hanternoz, Véhémence, and Grylle, to name a few. Grylle is perhaps the least “metal” of the three1, and also the folkiest, leaning fully into the medieval themes that serve Hyvermor and Antiq Records so well. Boasting an impressive lineup of guest musicians on all kinds of fun instruments, Egrotants, Souffreteux, Cacochymes, Covidards is the third full-length release from Gylle, and is, as per usual, a treat to explore.

Now, when I say an impressive lineup of guest musicians on all kinds of fun instruments, I mean it. Apart from bass and drums by KK and Cadavre respectively, there are no fewer than seven guest musicians on Egrotants, Souffreteux, Cacochymes, Covidards, whose contributions include a small horn section, citole, bagpipes, flutes, a hurdy gurdy, and something called a mandocello. As a result, Grylle’s music feels more multifaceted than it ever has before. More than previous records, Egrotants, Souffreteux, Cacochymes, Covidards is a black metal album firmly entrenched in medieval and folk themes, with one major difference—nearly all of the leads are performed by what I believe is the mandocello. Nearly all of the tremolo leads are acoustic, and even the distorted guitars are medieval instruments, though those are distorted enough to resemble the electric instruments of today. The result is what I imagine October Falls would sound like if you made them play the metal and acoustic bits at the same time; the riffs have that slick-yet-dark edge to them, while the acoustic sections enliven and enhance.

Of course, that’s not a perfect comparison, because Egrotants, Souffreteux, Cacochymes, Covidards is unquestionably a folk metal album. The gorgeous brass and trumpets (Lazareth) on”Mauvais Sang” work with mandocello and (I think) psaltery to add a shining, hopeful dimension to the song, while the hurdy gurdy (Sparda, Hanternoz, and Créatures) makes “Réservement de Confortale Présence” a uniquely mournful march, evoking Apocalypse Orchestra. Hearing acoustic and stringed instruments race to keep up with a full metal outfit on “Moribond Flétri d’Orgueil” is a fascinating experience, and it makes for an entertaining and strangely uplifting tune. Throughout it all, Hyvermor’s vocals (joined occasionally by La Griesche (Tour d’Ivoire) and Sparda, chant, rasp, and shout out stories for the ages, binding together the eclectic sound in a firmly metal base.

I’m not sure if Grylle has a particular weakness, but there are a number of small things about Egrotants, Souffreteux, Cacochymes, Covidards that keep me from being fully drawn in. “Grande Marche des Covidards” and “Réservement de Confortale Présence” both have nice moments musically, but give the impression of being half-finished, or containing ideas that never made it to full songs. As intro and interlude tracks, they’re easily forgettable, but without them, the album is only about half an hour. With only so much in the way of metal music, every moment has to count, and while most songs are very good—”Le Tropique du Cancer” in particular is exceptional—there are a few less exciting tracks, such as closer “La Triomphe de la Mort.” Hyvermor’s vocals are also an acquired taste; his delivery is expressive and strong but sits in an odd realm of being too strong for medieval folk and not quite dark enough for black metal. I wouldn’t say it doesn’t work, but there are moments here and there where you can imagine an alternate delivery or style suiting the song better. With that said, it is hard to blame Grylle for chasing an authentic sound, and most of the time, it works well.

Egrotants, Souffreteux, Cacochymes, Covidards is a fun album and Grylle is a project to keep an eye on. This is a style of music that is familiar and new, an approach to something established that I’ve never heard before. Grylle has written and performed it extremely well. As ever, I am eager to see where medieval metal goes from here—based on Egrotants, Souffreteux, Cacochymes, Covidards, the possibilities seem endless.

Rating: 3.0/5.0
DR: 8 | Format Reviewed: 320 kb/s mp3
Label: Antiq Records
Websites: grylle.bandcamp.com | facebook.com/grylleofficiel
Releases Worldwide: November 10th, 2024

#2024 #30 #AntiqRecords #ApocalypseOrchestra #BlackMetal #Créatures #EgrotantsSouffreteuxCacochymesCovidards #FolkMetal #FrenchMetal #Grylle #Hanternoz #Nov24 #OctoberFalls #Review #Reviews #TourDIvoire #Vehemence

Grylle – Egrotants, Souffreteux, Cacochymes, Covidards Review

By Twelve

I like Antiq Records. Generally, their albums tread the line between different, powerful, and weird very nicely, so it’s always a treat when one of their new releases happens by the Angry Metal Offices. It should come as no surprise that I’m a fan of Hyvermor. He’s the co-owner of the label and has been a part of several projects that I love—Hanternoz, Véhémence, and Grylle, to name a few. Grylle is perhaps the least “metal” of the three1, and also the folkiest, leaning fully into the medieval themes that serve Hyvermor and Antiq Records so well. Boasting an impressive lineup of guest musicians on all kinds of fun instruments, Egrotants, Souffreteux, Cacochymes, Covidards is the third full-length release from Gylle, and is, as per usual, a treat to explore.

Now, when I say an impressive lineup of guest musicians on all kinds of fun instruments, I mean it. Apart from bass and drums by KK and Cadavre respectively, there are no fewer than seven guest musicians on Egrotants, Souffreteux, Cacochymes, Covidards, whose contributions include a small horn section, citole, bagpipes, flutes, a hurdy gurdy, and something called a mandocello. As a result, Grylle’s music feels more multifaceted than it ever has before. More than previous records, Egrotants, Souffreteux, Cacochymes, Covidards is a black metal album firmly entrenched in medieval and folk themes, with one major difference—nearly all of the leads are performed by what I believe is the mandocello. Nearly all of the tremolo leads are acoustic, and even the distorted guitars are medieval instruments, though those are distorted enough to resemble the electric instruments of today. The result is what I imagine October Falls would sound like if you made them play the metal and acoustic bits at the same time; the riffs have that slick-yet-dark edge to them, while the acoustic sections enliven and enhance.

Of course, that’s not a perfect comparison, because Egrotants, Souffreteux, Cacochymes, Covidards is unquestionably a folk metal album. The gorgeous brass and trumpets (Lazareth) on”Mauvais Sang” work with mandocello and (I think) psaltery to add a shining, hopeful dimension to the song, while the hurdy gurdy (Sparda, Hanternoz, and Créatures) makes “Réservement de Confortale Présence” a uniquely mournful march, evoking Apocalypse Orchestra. Hearing acoustic and stringed instruments race to keep up with a full metal outfit on “Moribond Flétri d’Orgueil” is a fascinating experience, and it makes for an entertaining and strangely uplifting tune. Throughout it all, Hyvermor’s vocals (joined occasionally by La Griesche (Tour d’Ivoire) and Sparda, chant, rasp, and shout out stories for the ages, binding together the eclectic sound in a firmly metal base.

I’m not sure if Grylle has a particular weakness, but there are a number of small things about Egrotants, Souffreteux, Cacochymes, Covidards that keep me from being fully drawn in. “Grande Marche des Covidards” and “Réservement de Confortale Présence” both have nice moments musically, but give the impression of being half-finished, or containing ideas that never made it to full songs. As intro and interlude tracks, they’re easily forgettable, but without them, the album is only about half an hour. With only so much in the way of metal music, every moment has to count, and while most songs are very good—”Le Tropique du Cancer” in particular is exceptional—there are a few less exciting tracks, such as closer “La Triomphe de la Mort.” Hyvermor’s vocals are also an acquired taste; his delivery is expressive and strong but sits in an odd realm of being too strong for medieval folk and not quite dark enough for black metal. I wouldn’t say it doesn’t work, but there are moments here and there where you can imagine an alternate delivery or style suiting the song better. With that said, it is hard to blame Grylle for chasing an authentic sound, and most of the time, it works well.

Egrotants, Souffreteux, Cacochymes, Covidards is a fun album and Grylle is a project to keep an eye on. This is a style of music that is familiar and new, an approach to something established that I’ve never heard before. Grylle has written and performed it extremely well. As ever, I am eager to see where medieval metal goes from here—based on Egrotants, Souffreteux, Cacochymes, Covidards, the possibilities seem endless.

Rating: 3.0/5.0
DR: 8 | Format Reviewed: 320 kb/s mp3
Label: Antiq Records
Websites: grylle.bandcamp.com | facebook.com/grylleofficiel
Releases Worldwide: November 10th, 2024

#2024 #30 #AntiqRecords #ApocalypseOrchestra #BlackMetal #Créatures #EgrotantsSouffreteuxCacochymesCovidards #FolkMetal #FrenchMetal #Grylle #Hanternoz #Nov24 #OctoberFalls #Review #Reviews #TourDIvoire #Vehemence

For #BlackMetalMonday by @HailsandAles:

#Hulder: Hearken the End

https://song.link/trtf8d8jzfnfm

#ShampooCommercial

FFO #Pâlefroid #Sühnopfer #Véhémence

For #BlackMetalMonday by @HailsandAles:

#Hulder: Hearken the End

https://song.link/trtf8d8jzfnfm

#ShampooCommercial

FFO #Pâlefroid #Sühnopfer #Véhémence

For #BlackMetalMonday by @HailsandAles:

#Hulder: Hearken the End

https://song.link/trtf8d8jzfnfm

#ShampooCommercial

FFO #Pâlefroid #Sühnopfer #Véhémence

For #BlackMetalMonday by @HailsandAles:

#Hulder: Hearken the End

https://song.link/trtf8d8jzfnfm

#ShampooCommercial

FFO #Pâlefroid #Sühnopfer #Véhémence

“I am ready, with Drake, to singe the King of Spain’s beard; or to tear the Kaiser from his gory throne, in a moment of patriotic passion. But I am not prepared to sit down and argue calmly that such actions are ethically right. All hail to the vehemence and fury of war and of love! But not in these trousers. I must first gird my loins with the saffron philabeg of a dhuine-wassail!”

https://library.hrmtc.com/2024/05/08/i-am-ready-with-drake-to-singe-the-king-of-spains-beard-or-to-tear-the-kaiser-from-his-gory-throne-in-a-moment-of-patriotic-passion-but-i-am-not-prepared-to-sit-down-and-argue-calmly-t/

They Came from Visions – The Twilight Robes Review

By Doom_et_Al

I’ve always found the notion of “folk horror” to be altogether more ominous and scarier than psychopaths stalking teenagers. Rural settings, pagan beliefs, blood sacrifices, normal people committing terrible acts in the name of terrifying superstition … this is all deeply compelling stuff. They Came from Visions, an anonymous Ukrainian black metal outfit, clearly agrees. Sophomore album, The Twilight Robes, is positively steeped in folk horror, positioning each of its songs as a vignette, explaining the arrival of mysterious strangers called – you guessed it! – The Twilight Robes – who visit horror and despair upon an unsuspecting world, causing them to act in violent and depraved ways. This simple, yet compelling, theme is emphasized by the gorgeous, uncluttered album art. The fact that this comes from Ukraine, a country currently at war, only heightens the allegory. So far, so good. But does the music match the lofty aims of the band’s themes?

Mostly! They Came from Visions are, first and foremost, a black metal band, with one foot in the atmospheric camp and another in the melodic. There are rasped, wretched vocals, a raw production, and instrumentation with a distinctly medieval flavor to it. When it comes together, there is an indelible sense of atmosphere and foreboding, reminding me of European contemporaries Vehemence, albeit a lot less polished. The songs are surprisingly melodic, often building around central riffs that may not be earworms, per se, but are definitely on the catchier side. Check the central melodies of “Equinox Ablaze” or “Burning Eyes Blackened Claws.” The downside is that, like too many bands these days, the songs occasionally go on too long, draining them of some of their punch.

What really holds The Twilight Robes together so well is how beautifully the concept and the music are melded. The stories are horrifying – in the aforementioned “Equinox Ablaze,” for example, we hear about a village that burns its own citizens alive to appease the Harvest Gods. Yes, this is very Wicker Man-esque, but the band treat the subject matter with solemnity and seriousness, making it far more like the Christopher Lee version than the Nicolas Cage one. The harshness of the music combines with the subject matter like peanut butter and chocolate, resulting in an album that stays thematically consistent throughout its runtime. It does feel like we are witnessing a world slowly being consumed by superstitious darkness. Considering the meager resources available to the band while recording, this is a fantastic achievement.

About that production, though. It really does the music no favors whatsoever. The drums are far too soft, which is a problem when your music is mid-paced and melodic. Instead of thumping rhythm we get anemic pats, which leaches the music of some of its power. The vocals are too prominent, and with little variety in the rasps, quickly become overpowering and somewhat headache-inducing. A few times, I had to stop the album despite enjoying the songs, because my ears were hurting. Maybe I’m just getting olde, but more likely The Twilight Robes needed some more tinkering in the mixing studio. This is all unfortunate because the production missteps draw the listener out of the experience, rather than immersing them in it.

Despite these issues, the good on The Twilight Robes outweighs the bad. The songs are compelling and thematically cohesive. The tone is pitch-perfect and moody, while capturing that unmistakable folk horror aesthetic. With some tighter editing and some tinkering in the production studio, we could have had something truly special. As it is, this is a flawed, yet highly entertaining addition to the “rural” black metal genre.

Rating: 3.0/5.0
DR: 9 | Format Reviewed: 320 kbps mp3
Label: Eisenwald Records
Websites: theycamefromvisions.bandcamp.com/ | facebook.com/theycamefromvisions/
Released Worldwide: February 23rd, 2024

#2024 #30 #BlackMetal #EisenwaldRecords #Feb24 #FolkMetal #Review #Reviews #TheyCameFromVisions #UkrainianMetal #Vehemence

They Came from Visions – The Twilight Robes Review

By Doom_et_Al

I’ve always found the notion of “folk horror” to be altogether more ominous and scarier than psychopaths stalking teenagers. Rural settings, pagan beliefs, blood sacrifices, normal people committing terrible acts in the name of terrifying superstition … this is all deeply compelling stuff. They Came from Visions, an anonymous Ukrainian black metal outfit, clearly agrees. Sophomore album, The Twilight Robes, is positively steeped in folk horror, positioning each of its songs as a vignette, explaining the arrival of mysterious strangers called – you guessed it! – The Twilight Robes – who visit horror and despair upon an unsuspecting world, causing them to act in violent and depraved ways. This simple, yet compelling, theme is emphasized by the gorgeous, uncluttered album art. The fact that this comes from Ukraine, a country currently at war, only heightens the allegory. So far, so good. But does the music match the lofty aims of the band’s themes?

Mostly! They Came from Visions are, first and foremost, a black metal band, with one foot in the atmospheric camp and another in the melodic. There are rasped, wretched vocals, a raw production, and instrumentation with a distinctly medieval flavor to it. When it comes together, there is an indelible sense of atmosphere and foreboding, reminding me of European contemporaries Vehemence, albeit a lot less polished. The songs are surprisingly melodic, often building around central riffs that may not be earworms, per se, but are definitely on the catchier side. Check the central melodies of “Equinox Ablaze” or “Burning Eyes Blackened Claws.” The downside is that, like too many bands these days, the songs occasionally go on too long, draining them of some of their punch.

What really holds The Twilight Robes together so well is how beautifully the concept and the music are melded. The stories are horrifying – in the aforementioned “Equinox Ablaze,” for example, we hear about a village that burns its own citizens alive to appease the Harvest Gods. Yes, this is very Wicker Man-esque, but the band treat the subject matter with solemnity and seriousness, making it far more like the Christopher Lee version than the Nicolas Cage one. The harshness of the music combines with the subject matter like peanut butter and chocolate, resulting in an album that stays thematically consistent throughout its runtime. It does feel like we are witnessing a world slowly being consumed by superstitious darkness. Considering the meager resources available to the band while recording, this is a fantastic achievement.

About that production, though. It really does the music no favors whatsoever. The drums are far too soft, which is a problem when your music is mid-paced and melodic. Instead of thumping rhythm we get anemic pats, which leaches the music of some of its power. The vocals are too prominent, and with little variety in the rasps, quickly become overpowering and somewhat headache-inducing. A few times, I had to stop the album despite enjoying the songs, because my ears were hurting. Maybe I’m just getting olde, but more likely The Twilight Robes needed some more tinkering in the mixing studio. This is all unfortunate because the production missteps draw the listener out of the experience, rather than immersing them in it.

Despite these issues, the good on The Twilight Robes outweighs the bad. The songs are compelling and thematically cohesive. The tone is pitch-perfect and moody, while capturing that unmistakable folk horror aesthetic. With some tighter editing and some tinkering in the production studio, we could have had something truly special. As it is, this is a flawed, yet highly entertaining addition to the “rural” black metal genre.

Rating: 3.0/5.0
DR: 9 | Format Reviewed: 320 kbps mp3
Label: Eisenwald Records
Websites: theycamefromvisions.bandcamp.com/ | facebook.com/theycamefromvisions/
Released Worldwide: February 23rd, 2024

#2024 #30 #BlackMetal #EisenwaldRecords #Feb24 #FolkMetal #Review #Reviews #TheyCameFromVisions #UkrainianMetal #Vehemence