Archive for Celtic

Celtachor sign with Trollzorn Records

Posted in Featured, News with tags , , , , , , , , , on 11th March 2013 by Nico Davidson

Irish black metallers, Celtachor, who recently shared the stage with Heidevolk in York, have penned a deal with Trollzorn Records. Formed in 2007, with a finalised line-up in 2010, the Celtic metal band have gone onto share the stage with top folk metal names like Alestorm, Skyforger, Heidevolk and Waylander, amongst others. Blending together influences from black, death and doom metal, as well as traditional Celtic medleys, Celtachor firmly established themselves as one of the top bands in Ireland’s underground metal scene.

Celtachor’s debut album, Nine Waves From The Shore, was released in November 2012 but is now available from Trollzorn’s online shop, at this location. The band’s next release will be out towards the end of 2013 and will be released through Trollzorn Records.

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Interview: Celtachor

Posted in Interview with tags , , , , , , , on 26th September 2012 by Nico Davidson

Before their epic Celtic-sounding set at Warhorns Festival, Valkyrian Music editor Nico Davidson was able to catch Irish black metallers Celtachor for an interview where they discussed the band’s upcoming new album, Irish mythology and films.

Celtachor will also be supporting Heidevolk at Fibbers, 23rd February 2013. For more info and tickets, click here.

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Waylander – Kindred Spirits

Posted in CD, Metal with tags , , , , on 7th June 2012 by Nico Davidson

Waylander
Kindred Spirits
To Be Released: 16th July
Folk Metal/Celtic Metal
Released via Listenable Records

Waylander have been influencing and pillaging the folk metal scene since their formation in 1993. The last 19 years has seen the band release two demos and three albums, with the fourth album, Kindred Spirits, to be released in July (unless you’re unlucky enough to be living in North America, then you’re waiting until August).

The album kicks off with Echoes of the Sidhe, which has an appealing introduction, being composed of melodic tin whistles and snarling guitar riffs. The vocals are astringent and unrelenting, adding to the vicious sound of the guitars and drums while the flute medleys add a more harmonious effect to the song. The guitar solo and the folky section that follow have a very defined, august sound. Lámh Dearg begins with a beautifully played acoustic section before the roaring guitar riffs make themselves heard. The acoustic sections are quite dominant throughout the song, creating a unique sound with the more heavier sections of the song and the harsh vocal work. Some of the melodic licks and riffs are pleasant to hear, giving the song a very varied sound. Twin Fires of Beltine begins sounding like a semi-heavy power metal anthem with Celtic influences. Compared to the last two tracks, Twin Fires is relatively more laid back, portraying more of a Celtic hard rock sound than a folk metal sound. The melodic use of tin whistles add a certain beauty to the song whilst the cleaner vocals in the chorus add some folky flavouring to the track. The most interesting part of the track is the combination of narration and an instrument I can’t quite recognise.

Of Fear And Fire teases the listener with a slow and dark acoustic passage before the menacing and fierce riffs echo through the speakers. The first vocal passage sounds like an early Gorgoroth before taking on the death metal guise. The tin whistles blend in majestically with everything else in the track. Grave of Giants bewitchingly soothing melody whilst the monologue speaks of beautiful landscapes and untainted rivers, far from the “over-populated, polluted and so-called civilised” cities. The following track, A Path Well Trodden, changes the pace and sound rom the last track into something more hostile and warlike yet alluring and statuesque at the same time, however, the tin whistles are the one part that really do stick out in this magnificent painting of sounds. The album steps up a few levels with the heaviness in the form of Quest for Immortality, a song that utilises a staunch use of both harsh and clean vocals with a charming use of tin whistles and barbaric drum patterns. The guitars combine a near-perfect use of melody and aggression that dances well with the tin whistles.

The haunting sound of Erdath gently rings out next, complete with almost-choir like vocals and a dark atmosphere, before the sudden transformation into a raging beast of double bass drums, energetic riffs and thunderous vocals. Of course, the track is full of aggression and speed as there is a section in the second half where it remains heavy but is relatively slower and gloomier, much like a doom metal track. The album ends with the title track, Kindred Spirits, which begins with an alluring tin whistle medley before the assault of guitars and drums begin. The vocals sound raw and much more harsh than on the other tracks, which I think really does add to the sound of the song. The tin whistles add the beauty to the beast that are the guitars and vocals, making the song harmonious yet chaotic – In the good sense of course. Kindred Spirits really is the stand out track of the album.

After listening to the album, I see why Waylander are an influential band. I’ve never really listened to the band before so Kindred Spirits was something new for me and it definitely displays Waylander’s sound perfectly. Everything just seemed to fit together in the album to create a folkin’ masterpiece and Celtic goodness.

5/5

Nico Davidson

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Celtachor – In The Halls Of Our Ancient Fathers [2010]

Posted in CD, Metal with tags , , , , , , on 21st June 2011 by Nico Davidson

Band: Celtachor
Album: In The Halls Of Our Ancient Fathers
Release year: 2010
Genre: Celtic Black Metal

Celtachor formed in the early, wintery months of 2007, combining a mixture of folk, doom and black metal. They have slowly been on the rise in the Irish underground metal scene with their uniquely told version of Irish mythology and other great legends and stories of Ireland. “In The Hall Of Our Ancient Fathers” is the recent addition to their on going saga.

The tribal-like sounds of “Nemed’s Wake” eerily makes itself heard with dark, droning choir-like vocals creating a grim and terrifying atmosphere. A symphonic piece of epic proportions shortly follows, making way for the next track “Rise of Lugh”. The first riff is lacking in speed but has a clear black metal sound. The tempo increases with the vocals and drums entering the fray. There are clear Celtic influences in some of the flute medleys, adding a very legendary mystique to the music. The vocals are raw, untamed and savagely good. Some of the riffs are very crushing and brutal.

”In The Halls Of Nuada” comes next, beginning with a Celtic medley before the demonic onslaught of guitars, vocals and drums. The guitars and drums seem to be lacking in power compared to the vocals, which dominate the track viciously. In certain sections, the riffs are very choppy and whilst the drums seem more barbaric. “A Warning To Balor” blasts its way next with more of an eighties styled rock section which oddly works well with the more aggressive screams. There are a few melodic licks on this track as well. A masterfully played bass riff introduces the next track “Riders Of The Fomor”. The guitar riff that follows is mediocre and weak sounding. The Celtic styled medleys make a return on this track, adding a beautiful sound to the aggressive riffs. The vocals sound more raw and bloodthirsty.

“The Sons of Tuireann and the Blood Fine” is the second to last track, which calmly starts with an enchanting flute medley. The guitars join in soon after, twinning well with the flute. The vocals are still going strong, raw and murderous sounding, fortunately. The drums are sounding more powerful and beastly on this track as well. The final track “The Wavesweeper” begins with an intro similar to the first track, though the riff that follows seems poorly composed. The track improves with the introduction of the vocals, however, bringing a brutal assault of black metal. It is certainly one of the more violent tracks and perhaps the best one.

Celtachor are slowly becoming masters of their trade. “In The Halls Of Our Ancient Ancestors” is a brilliant mixture of Irish sagas, black metal and Celtic influences. If the ancient tribes of Ireland listened to metal, then this would certainly be that they’d approve of.

5/5

Nico Davidson

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Cryptic Age – Homeland EP [2011]

Posted in CD, Metal with tags , , , , , , , , , , , , , , , , on 13th June 2011 by Nico Davidson

Band: Cryptic Age
Album: Homeland EP
Release year: 2011
Genre: Folk Metal/Power Metal

Since their formation, Cryptic Age have been a rising star in the British underground metal scene, having shared the stage with the likes of Ravenage, Hecate Enthroned, Windrider and Skyclad. “Homeland” is the first chapter in their epic saga.

The title track, “Homeland”, is the first track of the EP. It begins with the sound of thunder and rain. Vocals are soon heard over the rain. The Manx Gaelic lyrics are a great touch to the track, giving it a very Celtic feel. With the introduction of the symphonic sections, combined with the drums, bass and guitar the track turns aggressive yet beautiful. The vocals are monumentally powerful, more so than most soprano styled vocals. The symphonic elements bring a very intense, epic sound whilst the guitar, bass and drums bring good ol’ fashioned heaviness. The keyboard solo and the guitar solo that follows can only be described as “sagaic”.

”On The Cold Bare Ground” is the second track of the EP, beginning with a dark and mysterious sounding riff. The riff eventually transforms into a something heavier for a short while before going back to the softer, darker riff. The track does turn heavier again though with an increase in tempo. The vocals ring strongly throughout the track. The drum work is acute and precise. Like the previous track, the solos are mind-blowing.

The third track, “Bring Down The Sky” begins very folky, with an acoustic intro and a long symphonic note. The vocals work very well with this intro, conjuring up images of a small Celtic village. The drums add a new dynamic to the track as well. Whilst the first half of this track is slow paced, the second half increases the tempo. The guitar solo is astounding, brutal and masterfully played. The wittily named “No Folkin’ Way” is the second to last track of this so far majestic EP. Like the previous track, it has an acoustic and symphonic intro, though it is short lived before the electric guitar dominates. The symphonic sections are grand sounding, blending well with the guitar riffs, bass and drums. The only downside to this track is the lack of vocals.

The last track is “Paragons Of War”. Straight from the beginning, there is a somewhat heroic-sagaic sound resonating from the combination of drums, bass, guitars and keyboards. The vocals complete the track, adding a very majestic touch to it. The guitar and bass sections are brilliantly played and the drums are definitely are a highlight of the track. And the solos are nothing short of grand and noble.

Cryptic Age, despite been young, are clearly a talented quartet of musicians. No doubt that “Homeland” is but the first chapter in a long and legendary saga for these Yorkshire lads and lass. Female fronted metal has never sounded so good.

5/5

Nico Davidson

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