Korpiklaani – Noita


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You could be forgiven for accusing Finnish folk-metallers Korpiklaani of being one-trick ponies. After all, their brand of sozzled pseudo-parody folk metal has been the staple of many-a post midday festival piss up. While enjoyable, the Finns have never really pushed the creative envelope and Noita (Nuclear Blast) is no different. That being said, it would be harsh to assume this lack of imagination directly correlates to the quality of the album. Korpiklaani albums have always brought with them a sense of no-fucks-given entertainment.

Noita feels more like a collection of singles rather than a cohesive piece of music, some of which are perfect for summer evenings with a beverage and mates, others are just plain daft. ‘Viinamäen Mies’ is just one example of the latter, as is the frankly forgettable ‘Sahti’ which feels lazy and forced, as though they were struggling for ideas. ‘Sen Verran Minäkin Noita’ is where it all goes wrong, wandering from the path well-trodden it verges dangerous onto the bland side of metal, becoming wrapped up in its own clichés and failing miserably to bring a new dimension to the bands sound. ‘Lempo’ is one of the few tracks on the album that endures, sonically a traditional Finnish caper soundtrack that is best enjoyed at full volume and with any remaining brain cells left at the door. It sums up the Korpiklaani sound perfectly, capturing the youthful, carefree and slightly eccentric essence that has made the band a festival favourite.

Unfortunately, much of the album feels like lazy and half-hearted, as though the band had completely run out of ideas. Much of the album is a complete rehash of older albums such as ‘Surma’ which saw Korpiklaani at their best, something that they don’t seem to have rekindled since. Still, Korpiklaani have and always will be a band who doesn’t take themselves serious and who will continue having a good time, all the while ensuring their fans enjoy themselves along the way.

 

5.0/10

Korpiklaani on Facebook

SARAH WORSLEY


Lonely Robot – Please Come Home


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It has taken John Mitchell several years to see his Lonely Robot project come to fruition, during which time Mr. Mitchell has been involved with a handful of gold-plated prog projects including It Bites, Frost* and Arena. Lonely Robot seems to be a very personal endeavor; one that Mitchell has been able to throw his unique insights and personality into. One gets the impression that when listening to Please Come Home (InsideOut) we are peering through a window into a man’s soul.

The noticeable trait of this album is the classic science fiction tone; it is permeable through each of the benevolently hewn songs. One of the aspects of space that has always intrigued humanity is the endless vacuum, the vast loneliness that engulfs its sparse inhabitants. While Please Come Home has elements of this, the spasmodic positivity ensures that the album isn’t too dense. Mitchell’s now distinct vocals bring a sense of comforting warmth, and are reminiscent of ‘Map of the Past’. Featuring the likes of Craig Blundell (drums) and Nick Beggs (bass) Mitchell and his comrades have the ability to tingle spines and reduce even the hardiest men to tears. ‘Airlock’ is an instrumental track steeped in classic sci-fi, with vintage synths from Frost*’s Jem Godfrey. Possibly the most captivating all the tracks on Please Come Home is the compelling ‘Man vs. God’. It wouldn’t be out of place in a movie soundtrack, inspiring countless thought of rockets, celestial pioneers and something otherworldly altogether.

Please Come Home will no doubt feature on many Top 10’s at the end of 2015, and deservedly so. All music aficionados, no matter their musical leanings should give this a listen. It transcends categorization and showcases John Mitchell at his finest.

9.0/10

Lonely Robot on Facebook

SARAH WORSLEY


Negură Bunget – TĂU


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Romanian folk-infused black metallers Negură Bunget have more than upped their game with their latest release, TĂU (Code666/Prophecy), an album that marks the inaugural release of the bands ‘Transylvanian Trilogy’, a series of three albums that act as a sonic tribute to the band’s naturally visually striking home country. The first album in the trilogy deals with Romanian nature, and as a result feels earthy, but at the same time otherworldly and elemental.

Having won hearts and minds with 2006’s genre masterwork, Om (Code666), the very pinnacle of atmospheric indigenous black metal, Negură Bunget have remained relatively quiet with just one album in the nine intervening years that have been spent recovering from a damaging line-up change. Erstwhile band members Hupogrammos Disciple and Sol Faur moved on to pastures new and impressed with Dar de duh (Prophecy), the debut opus of new outfit Dordeduh, while Negru retained the band name and released Vîrstele Pămîntului (Code666) in 2010 to a mixed reception, raising as many questions over the longevity and remaining quality of the band as it answered.

The idea behind TĂU is ambitious and out of the band’s comfort zone and for those familiar with the Negură Bunget sound this is apparent from opener ‘Nametenie’. The chanting backing vocals provide ritualistic foundations, while the harsher black metal elements combine to give a very primeval feel. The intent of this album is a visual one, and TĂU’s cinematic ability to transport you visually to the Romanian landscape is unlike anything the band has done before. Each song on the album represents a different landscape, and album closer ‘Schimniceste’ is a black metal ambient master class. Its pensiveness and hypnotic rhythms aurally transport you to another world, one that you cannot see but can certainly feel.

Accompanying this release will be a 72-page art book edition, which in addition to featuring stunning photography will also include the history of the various featured landscapes. It is clear that immeasurable care and attention to detail has taken place throughout this project, and the band’s dedication to attentively bringing to life the natural world makes this a wholly unique record.

9.0/10

Negura Bunget on Facebook

SARAH WORSLEY


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