Trollheart

Yeah, absolutely. Drop it here or PM me and I'll get on it.

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Horror

I'm not sure if you've heard Akiko Shikata before but, if you haven't I can't wait to hear what you think of her. She's something else really. Spiritual, Soft, Hard. I don't even know. I discovered her played a game called Ar Tonelico of which she wrote and sung most of the music for. I love the fact that she writes music but, I can't tell you if she write all her music anyway, here's the album.



I decided on one of her smaller ones because, I know you're busy with so many projects. Anyway, hope you like it!

Trollheart

Artiste: Folkearth
Nationality: Multi
Album: Balder's Lament
Year: 2014
Label: Stygian Crypt Productions
Genre: Folk/Viking Metal
Chronological position: Twelfth album
Familiarity: Zero
Interesting factoid: Oh yeah, interesting is the word! Folkearth is a multinational, multi-musician project that takes in players from the likes of Spain, Australia, Russia, Belgium, Croatia, Italy, USA and more. There are currently twelve band members from eight separate countries, including Greece, Monaco, Argentina, France, Italy, Germany, Russia and USA, and that's only less than half of the members and countries who have participated over this extraordinary band's so-far eleven year existence. They play a mixture of folk music and Viking Metal, and include musicians from bands in both spheres. Hey! I see both Athestan and Wulfstan from Forefather and Autumn and Winter from Hordak all played in this project at one time.

Tracks:
1. Beliskner: Big power metal style guitar attack with that dark growly voice so familiar to those who known Viking Metal. Hammers (sorry) along like a good thing, with a great warrior's chorus. Sad to say, it seems the vocalist, Metfolvik, of Folkodia and Ravenclaw, died shortly before the release of the album, which is dedicated to his memory (see “Comments” section). Some great female backing vocals here too, and it's a great start to the album, wasting no time and getting right down to it. Definitely more on the Viking Metal side than the folk, though. Certainly stirs the blood.
2. Balder's lament: Somewhat slightly slower but still very powerful with some great guitar work.
3. From Volga to Bosphrus: Kicks the tempo back up again in the vein of the opener, with a real folk reel type thing going on with the guitar. Some powerful and passionate vocal work from Metfolvik too.
4. Farewell to the north: This kind of sounds to me, when it starts, like something by Panopticon, which is no bad thing. Another romping rocker, female vocals added this time from the HOT Hildr Valkyrie (see below), also of Folkodia as well as doing her own solo thing. If I have a complaint so far, it's that this is mostly Viking Metal whereas it's supposed also to contain “normal” folk music, and I see cello, violin and accordion credited, none of which I've yet heard.
5. The crimson wine of battle: Nice flute intro (I think it may be recorder, as one is credited, not that I'd know the difference!) with acoustic guitar, then it kicks up again on the electric, Hildr adding her voice to this one too, sharing vocal duties with Metfolvik. Slightly lower-key to a degree, doesn't charge along like some of the other tracks. Oh, there's the violin now. Very nice. Soft passage here in the middle where Hildr takes the vocal solo before Metfolvik comes back in as the song heads towards its end, which is played out on a great acoustic strummed guitar.
6. Eyes of the volva: Back to the full frontal assault now with a big thundering rush as we hear about demons conjured up by Odin, maybe. Powerful, expressive guitar solo halfway through.
7. Donar's hammer: There's a big ringing powerful guitar to start this off, though it rockets along whereas I thought with a title like that it might be more of a cruncher, a grinder. Some very effective female vocals coming in too
8. The silent warrior: Not as silent as you would think! Big powerful snarling guitars, with attendant cello, this is a slower song, punching along moodily with again a sort of duet between Metfolvik and Hildr.
9. The wine-sacks of the emperor: Serious folk jam going on here for the first few seconds with violin, accordion and guitar before it takes off, but remains in the same kind of jig/reel rhythm just now with electric guitar and harsh vocals. Great performance from Hildr.
10. Anvil of storms: Again more celtic/folk influence in the music here. A good fast rocker to close, and to, I would assume, serve as the swansong for Metfolvik. Some lovely violin here too.

Comments: A touching tribute to the late Metfolvik is on the Metal Archives under his page. It reads ”Thus our hearts and eyes are weepping (sic) for you, our friend forever shall be, in our minds forever shall be, Immortal! You enter the Hall of Brazen Shields as a True Warrior, Who fought brave till the last breath...” The album cover reflects this too, showing a Viking funeral which ties in also with the title of the album. Overall a pretty satisfying album, though given the description of Folkearth I would have liked to have seen a better mix of metal and actual folk music, rather than just snippets before each song tore off into a Viking Metal headbang. Good album, though, even if it didn't quite deliver on the original promise as I understood it.

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Trollheart

Artiste: Julia Wolfe
Nationality: American
Album: Anthracite Fields
Year: 2015
Label: Cantaloupe Music
Genre: Contemporary Classical
Chronological position: Kind of doesn't work; she's created hundreds of short pieces, collaborations, works etc. Just take it that this is not her first recording.
Familiarity: Zero
Interesting factoid: It's not often I come across someone whose music is said to “inhabit a place of its own, a place where classical forms are recharged by the repetitive patterns of minimalism and the driving energy of rock” as https://en.wikipedia.org/wiki/Julia_Wolfe#Solo The Wall Street Journal puts it, nor one who has won the Pulitzer Prize for music!
Tracks:
1. Foundation: It's very quiet for most of the opening (runs for like nineteen minutes) apart from some clashing drums and piano I think that break out, then a low male vocal choir starts chanting, getting faster and more insistent, then female choir coming in too. Some more music added in now, guitar I think and maybe oboe or clarinet as the female vocals take over. We're about ten minutes in now. Big punching vocal in the fifteenth minute, attended mostly by stabbed piano and now the male vocal choir is advancing into the piece, the two eventually joining for a choral rendition to take the track towards its end. Not really my kind of thing, but good for what it is.
2. Breaker boys: This one's only (!) fourteen minutes long, and starts off more boppy and uptempo, getting right into it with a peppy clarinet and double vocal from the male and female choir. Sort of think I preferred the first track already! Yeah, it's only four minutes in but I already don't like this much at all. There's nothing of the gentle undertones of the first track in this; it's just a little too lively. Okay, suddenly it's beginning to settle down on a slow male choir. Wolfe uses something she calls the Bang On A Can Allstars and to be honest, in minute nine it sounds like that's exactly what's happening, as female vocals rise into the mix. Now it takes off into a sort of rocking rhythm somewhat in the vein of “We didn't start the fire” to a degree. Yeah, liking this less as it develops.The stupid chant of “I am the king of the castle” at the end does nothing to change my mind.
3. Speech: Something of an Indian twist to this, more choir work , slow doomy percussion. Meh.
4. Flowers: Nice acoustic guitar start, soft and flowing, gentle voices. Some very nice violin and cello, a lot more relaxed.
5. Appliances: And a twelve-minuter to end. It's been something of an endurance test and I can't really see this one making it any easier an experience for me. Sort of broken-up vocals here, with some nice but slightly distorted piano. Gets pretty intense, but to be honest I'm just waiting for it to be over now.

Comments: I wouldn't want to put down what she does, as I'm sure this is a great composition, but it is definitely not for me. I prefer my music a bit more, shall we say, musical? Frownland probably loves this, which tells you how much I don't. It's clever, it's deep, it's well-produced, but it's not something I'd listen to again.

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Frownland

You're right in assuming that I'm a Wolfe fan, but I haven't heard this album yet. From what I'm reading, I think that some of David Lang's (a fellow member of the Bang on a Can All Stars) work might be a little more up your alley.

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Studies show that when a given norm is changed in the face of the unchanging, the remaining contradictions will parallel the truth.

Trollheart

I can tell she has passion and talent. I hate to, and try to avoid, putting down an artiste just because I don't like their work. If I can hear the passion and commitment there, and get a feel for why others may enjoy it, then I'll give them credit for that. But it just is not for me.

I thought you would be into it though.

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Frownland

Unsurprisingly indeed. Contemporary classical opens itself up to weirder places than most genres.

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Studies show that when a given norm is changed in the face of the unchanging, the remaining contradictions will parallel the truth.

Trollheart

Ah well. At least I gave it a go.

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Trollheart

Artiste: The Blues Overdrive
Nationality: Danish I think
Album: Clinch!
Year: 2015
Label:
Genre: Blues
Chronological position: Second album
Familiarity: Zero
Interesting factoid:
Tracks:
1. Pistol blues: Has a very Credence feel to it from the beginning, starts low and restrained but I imagine it will kick up shortly... actually, no it doesn't. Bit of a disappointment actually.
2. Rolling thunder: Better. Rocks out from the start. Good guitar work and some fine percussion. The vocal fits the music perfectly.
3. Three time lover: And now we're boogying at last. Aw yeah! This is the blues, man! Pretty cool.
4. Woman of love: Kind of a Dire Straits guitar here, actually very like a slower “Sultans of Swing” or “Water of love” (any coincidence?). Softer vocal which is interestingly different, almost a touch of folk in there. The guitar goes Santana-style halfway through.
5. Daughter of the devil: And this is The Eagles' “Witchy woman”. Oh dear.
6. Jealous: This is a bit better, but I'm starting to get a little bored now. Where are the hard-rockin', hard-drinkin' blues stormers? This is, so far, pretty damn weak.
7. Cherry: God! Another limpwristed borefest!
8. Lay your burden down: Do these guys EVER rock out? This is just total snoozedom. Did not expect this.
9. Living here without you: Okay, there's a decent Rober Crayesque groove here and some nice electric piano. This is not bad. Still not really kicking out any stays though, and I'd like to hear that. Given that we have only one track to go, however, I kind of doubt it's gonna happen.
10. Aurora: No, it's another slowburner. Not bad, but ffs, wake up guys huh?

Comments: For a blues album, I just expected it to be more lively. I guess the blues can be introspective and sort of downbeat, which is how this album came across to me. But how these guys won the accolade of Best Blues Album of 2015 is beyond me. They say on their website they can't believe it: neither can I. Big disappointment personally. I'm certainly no expert on the blues, but I've heard the greats and the not-so-greats, and this doesn't come close. I guess some people prefer their blues downbeat and low-key. Not me though, at least, not all through the album.

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Trollheart

Artiste: Exes For Eyes
Nationality: American?
Album: Tongues Like Figure Eights
Year: 2015
Label: None; Digital release through their website (for a dollar!)
Genre: Thrash/Death Metal?
Chronological position: Second album
Familiarity: Zero
Interesting factoid: You wouldn't think there were two bands with this name, and in essence there aren't, but I thought this was the Irish band Little Xs for Eyes, and they had just changed their name. It's not and they haven't. There is however very little information, even from their website, on the band, with the result that I am just assuming they come from America.
Tracks:
1. Tongues like figure eights: Starts deceptively relaxed but then bursts into what is I guess a death metal or thrash vein, growly voice, hammering guitars, good melodies though. Certainly rocks.
2. Done for good: Meh, bit slower but I really didn't notice the transition from one to the other, and that's seldom good. Bit grindier than the opener, but essentially sounds pretty much the same to me. Aggressive, angry, loud and powerful. Batty would probably love this.
3. I will stand my ground: Another roared vocal, bit all over the place, but then it settles down for the midsection with a really nice softer guitar and a far gentler vocal. It won't of course stay that way, but it's nice while it does.
4. Collision: Nice sort of vocal chorus with some really biting guitar. Different, anyway.
5. Bleed the stone: Nice jangly guitar start, then it kicks into another headbanger. I'm getting more used to the vocal now. It's not too bad.
6. A strange man: Sort of a boogie feel to this, hops along nicely. An almost melodic/progressive metal guitar at times. Far too long though at six minutes plus. Nice staggered riff at the end.
7. Remember Savannah: This definitely sounds like it has some keyboards in it, and again there's a real progressive metal tone to it. Do they have keys? I don't know; as I say, information is sketchy at best. Okay, from what I can see, they don't, yet those definitely sound like keys. Maybe there's a guest performer? Best track yet, although really that's not saying a lot, is it? I'm actually gonna Green this one, first one on the album I've felt deserves it.
8. Parade of one: All right, that is definitely piano. No question about it. Kind of murder it a few seconds later though with a total thrashfest which could end up getting this a Red if it doesn't do anything else over its run. Ok, it actually has a good hook and the vocal is pretty expressive, those prog metal overtones in evidence again. I can give this a Green, though it annoys me what they did to that poor piano!
9. Shot in the dark: This is pretty good, with a sense of creeping menace in the guitar and in the at times kind of hissed vocal. Good bit of shredding there in the last minute or so.
10. My life vs your vacation: Actually sounds a lot like mid-eighties Maiden; hammers along with great energy and enthusiasm, though what the hell it's about I have no idea.
11. Closure...: I'm not going to suggest this is a ballad, but it does start on really nice reflective guitar that for the moment hasn't been blown away by a harder one. And it isn't. This is actually quite beautiful and totally unexpected. An instrumental that's low-key, soft and relaxing, and remains that way to the end.

Comments: Although this album started really badly for me but improved as it went on, and made a very presentable showing at the end, I still feel it's nothing special. It's probably categorised as thrash metal, and in that vein it's pretty ordinary: I don't see these guys standing out from the crowd as they need to do if they're to make it (which I assume they haven't as I had to search a lot to find them). It's not an album I'm sorry I listened to, but equally I could have lived without it, which is a pity, as they seem to be nice guys dedicated to their music, very honest and down to earth. But it takes more than that, unfortunately.

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Trollheart: Signature-free since April 2018