Tengger Cavalry - Blood Sacrifice Shaman (2015)

History Channel Metal. That is my personal tag for Tengger Cavalry's latest opus. While it is true that Blood Sacrifice Shaman is a reworking of the band's debut, this is anything but a re-record. What the original sports in black metal rawness, this 2015 version counters with a vision of beauty. Gone are most of the harsh vocals, replaced with an increased focus on throat-singing and instrumental compositions. Listening to this is a journey through time and a celebration of cultural heritage. This is quality metal even your mother could appreciate.

I made an important note in my review for Ancient Call that I think warrants repeating: there is not even a hint of parody in anything that Tengger Cavalry does. While I am a fan of acts like Ensiferum and Equilibrium, their take on folk metal is a decidedly more silly one based on costuming and audience fist-pumping. Those things are fun and all, but sometimes I crave a level of class and true appreciation for the real history behind these lyrics and arrangements. These are the things for which I find myself coming back to Tengger Cavalry time and time again.

Once more, they have not let me down. In fact, the atmospheric qualities that have been increasingly explored with each TC album have certainly reached some sort of benchmark. “The Wolf Ritual” is a masterful piece of art, perfectly incorporating traditional Chinese instruments with crunchy guitar chords. Placement and orchestration are delicate tools for which frontman, Nature, has a clear knack. Even shorter tracks like “Rootless” and “The Native” refuse to fall into the filler category with gripping string performances that warrant every ounce of your attention. Then there are the more typical folk-metal war marches of songs like “Horseman” and “Tengger Cavalry,” which feel like continuations of ideas from last year's equally spectacular Ancient Call.

Also of note is the improved level of production on this album. While there is a certain amount of charm I attribute to the raw-sounding distortion of previous releases, the increased lushness is something that does Blood Sacrifice Shaman oh-so-right. The reverb, balanced levels, and overall polish create an experience that is wholly immersive. Every instrument feels absolutely vibrant and alive. I want to step into the space that Nature has created and build a quaint little home on the landscape. Of course, then the hordes might come burn it down; but it would be worth it.

I want to say so much more about this album, but words fail me. This is something I would classify more as an “experience” than simply metal. As such, Blood Sacrifice Shaman is something you should explore for yourself. I realize that this sounds like a cop-out, as well as just an obvious thing to say about any album, but sometimes things just defy a standard reviewing format. In short, it's heavy enough to please the head-bangers while displaying more than enough mature songwriting skills to attract even the most high-profile director. Paging Quentin Tarantino.  $9.99 on bandcamp and $8.99 on Amazon.

 

Enjoyability=9

Musicianship=9

Innovation=9

Overall=9

 

Downfall of Nur (Argentina)

So yet again, it’s 2015, and despite all of my convictions held that post-black is a trite and boring affair, I have been proven wrong.  After being severely underwhelmed by last year’s Deafhaven and its thousands of art-school imitators, group after group have shown me the light.  The solution is so obvious: make the music different and interesting.  This brings me to Downfall of Nur.  Fusing the haunting howls and chord structures of post metal, the constant build of progressive, and the engrossing soundscapes of blackened folk; Umbras de Barbagia is a monument of sorrow.

This album is a bit of a slow burner. In fact, it's a full 10 minutes before the vocals even kick in, but believe me when I say that your patience will be rewarded.  Fortunately, the wait is not a chore by any means.  Between the deeply sad minor chord patterns and the (unique) folk instrumentation, the well-constructed progressions provide plenty of feeling and engagement.  The most abundant untraditional instrument is the quenacho flute.  You will probably recognize its sound from Kung Fu, or Kill Bill part 2.  But there are also appearances of piano, strings, and even rain sounds.  Those who stick around to the final track will also experience a bagpipe performance fit for a funeral procession.

The vocals start off like most post-black acts: fairly unintelligible, screechy, buried in the mix, etc.  I was a little concerned at first that this might be where things take a turn for the worst.  However, much like with the instrumentation, there is a wealth of subtle variety to be found.  When things slow down, Dany Tee (Seelenmord, In Element, ex-Dead Warrior, Those Endless Eyes) goes with something a little more grim and growly that I can actually understand.  Even more pleasant are the passages of clean singing that border on a folky chanting. These slower parts feature some very crisp acoustic guitar and tons of reverb on everything. The production choices really help the drums sound deep and foreboding.

While sonically, it would be easy to compare the tone of this to other post-black acts, I find myself thinking more of Enslaved.  The two sound little alike, yet the simple, subtle takes on songwriting and manner of black and folk fusion warrant the association.  Those who have had the pleasure of listening to Au-Dessus’ debut, Tod Huetet Ubel, Telpathy’s 12 Areas or even Leviathan’s latest album are likely to find enjoyment in this as well.  Final word: Dark, haunting, and very rewarding.  Check it out on bandcamp for stream and consider it’s low 4 Euro price tag if you enjoy it as much as I did.

Enjoyability=9
Musicianship=8
Innovation=8
Overall=8.7

A Forest of Stars (UK)

Okay, so if you are a real black metal fan, you probably already know who these guys are.  However, I am willing to bet your average metalhead has never heard of them.  This is sure to make some Top 10 lists for 2015.  The vocals are like a demented one-man-show backed by the occasional angelic female melody.  Strings, slide guitar, backtracking, occasionally indie sounding bass.  But I thought you said this was BM?  There's still plenty of tremolos and blastbeats for you, but this album truly transcends in its art and beauty.  Check it out here.  Another solid deal.