Under the mystic working title Beyond Bloodied Banners Far And Haunted Winters Graven, Frostwork and Cruelty’s Heart release their first split via upcoming and intensively growing label Ukem Records. Oh yes, great cover artwork too…
The split opens with six pieces by Cruelty’s Heart (this British formation was named after some mystic amulet, if I’m not mistaken). This band was formed in 2009 by Southampton, U.K.-born guy Bloodletter, and after a self-released demo, he recorded the album Rex Anglorvm Saxonvm, which was released via (in mean time defunct) Wodfreca Records. In mean time he recruited some other musicians, all with Danish roots (I think Bloodletter relocated to Denmark in mean time), and they recorded the material for this lengthy split in 2013.
Cruelty’s Heart’s contribution stands for fast and fierce, melodic and rhythmic Pagan-oriented Black Metal with a catchy undertone. Their approach has something that reminds the listener to the Eighties’ Thrash scene, while the vocals are of the hysterical, high-pitch kind. The tempo changes in between the tracks, as well as within most pieces. Irminsul, for example, has both slow and fast parts, and the very same contradict balance goes for the equilibrium epic melody – technical-laden harshness. Some of the more experimental moments do remind me to the likes of Rhymes Of Destruction, though the Scandinavian or British Pagan / Folk / Black scenes might come to mind as well. I once heard about some ‘Bathory-meet-Forefather with Iron Maiden-esque elements’ comparison, and … I cannot agree to the core, but I do understand the point of view. There is quite some variety, and personally I do prefer those pieces that are heavily inspired by the Pagan-tradition or the Doom-interpretation.
Oh yes, this band’s contribution to this split ends with the Forefather-cover Steadfast, which was initially recorded to appear on the tribute-album to Forefather, which was intended to be released via Wodfreca, yet seen the circumstances. I do not think it is / was Forefather’s strongest effort ever, and it certainly isn’t the best cover song either, but it fits to the whole approach. And here you can truly realise the effect of the Iron Maiden-comparison…
7/10
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Next eight songs are done by UK-based Frostwork, the solo-outfit of Dagon, known from black metallers Heathen Deity (for a brief period he was in Hecate Enthroned as well). After a demonstrational recording in 2007, he released the Lore Of Winter – Ealdspell full length, just like higher mentioned Cruelty’s Heart’s debut released on Wodfreca. For this split he recorded new material, once again helped out by Marc ‘Azrael’ Hoyland, Dagon’s colleague in Heathen Deity, and also known from bands and projects such as Ethereal Forest, Wither, Nefarious Dusk, Thornland, Knell Of Dawn etc. (FYI: it’s the same guy, by the way, who runs Mirkwood Productions).
Opening song Beginnan Snīwan is a short (two minutes) acoustic Neo-Folk’ish piece, based on acoustic guitars and supported by silent whispers, but it comes with a shivering atmosphere, at the same time bringing warmth. Then comes Through Frozen Limbs And Roots I Spoke, bringing extremely chilly Black Metal. It’s an icy translation of the sound from the Netherworlds, repetitive and minimal, yet very atmospheric. Grandiose is the epic choir that comes along, though the prominent trem-lead throughout the whole composition is enormously throat-grabbing as well. And so are, as a matter of fact, the raspy screams. Onwæcan Se Gāst is an unnecessary intermezzo, I think, but as from then on, Frostwork show their true face, and it’s an ugly, scarred one for sure. But if you can appreciate this kind of primal obscurity, you will be satisfied throughout the whole sonic journey. At the one hand you have those fierce battle-songs, filled with war-lust and victorious pleasure, and at the other there are those neo-folky and epic Viking-hymns, not focusing on battlefields, yet rather on melancholy.
Two remarks, however, have to be made. First of all I think the drum computer might bother the listener. I too think it sounds way too mechanical from time to time, neglecting the evil essence. But that’s something you can cope with for sure. The other remark is the weak production, creating a lo-fi sound beneath acceptance. That’s truly pitiful for the result could have been much more impressive with a less cheap sound. ‘Underground’ is one thing, but please take this advice in consideration…
8/10