From the mind of Roman Saenko comes a folk compilation of international recording artists whose goal is to bring a piece of heritage from each contributor's country of origin into the light, reworked and personalized for our listening pleasure. A man of extremely few public words, Saenko is best known as the Ukrainian mastermind of one man pagan black metal institution Drudkh, as well as the more recent Blood of Kingu. Just how much interest might such a specialized project garner from the world of heavy metal?
When you consider the artists involved, it is difficult to not be intrigued. Out May 23rd on Seasons of Mist, One and All, Together, For Home was painstakingly enriched and made possible through the efforts of Primordial, Winterfylleth, Ava Inferi, Kampfar, Himinbjorg, Haive and Mondvolland. Can each of these bands, the vast majority of whom base their compositions around distorted guitars and screaming, manage to record folk music without sounding contrived or forced?
One look at that lineup should banish all doubts that this two-disc compilation is anything other than superb. Bands who tackle issues of heritage and history within the subtext of their own cultures, and do so with the gravitas of those aforesaid, will have no trouble cultivating the spirit and amplifying the music of tradition within this format.
Alan Averill has a voice like no other, and many times with his own band Primordial he has lent it to odes of pain and loss surrounding his native Ireland. On One and All, it is his voice which kicks things off. "Dark Horse on the Wind" possesses all the doom and solemnity one would expect from a man who captivated us with tales of the woes of his people. The pain and perfection he delivered on classics such as "The Coffin Ships" and "Dark Song" shines through magnificently on this dirge.
Broken dreams and the pangs of nationhood are sung over a mournful cello and nothing more. The results are incredible. Primordial also contribute a reworking of the song "The Foggy Dew." The heavy brogue in the verses, the strumming of the acoustic guitar, and the cadence of the beat evoke Ireland in all its ancient glory. The song builds to a rousing flute solo, amounting to an engaging ode best sung with friends around a warm hearth in Dublin.
Winterfylleth perform a fine classical suite in the form of "Abbots Bromley Horn Dance," with cello and violin painting a picture of bygone days. This English heritage black metal monster known for their vicious Emperor-influenced attack show their versatility with an outstanding cover of "John Barleycorn," an ancient ode from the storied past of Albion. The acoustic melody is held down with wonderful male and female clean vocals. Their third and final contribution comes in the form of "Three Ravens," built on a similar foundation of dual vocals and acoustic guitar. Stunning quality is the order of the day from these true bards of ancient Britannia.
Roman Saenko performs a song called "Dovbush" under the Drudkh moniker. This bit of spirited grimness features a mix of acoustic and heavy guitar, with an eerie multi-layered flute prevailing over it. The fens and forests of an unpeopled Ukraine are brought to mind, the music evoking the haunting calls of loons amidst the lament of dying seasons.
Norwegian pagan black metal kings Kampfar, who I believe have never played a bad musical note in their entire career, offer us "Bådnsull," a stark, wordless ballad as cold and unforgiving as a moonlit fjord in winter. Doled out with a piano and an acoustic guitar, the song then builds slowly until guitars and Dolk's gravelly voice adds a shamanistic, yet still rocking vibe to the whole affair. They too give us "En Hymne Til Urd," similarly executed and filled with the somber strength only people as serious about their heritage as these Norsemen can convey.
Häive, from Finland, unearth the splendor of ancient Karelia from its sylvan fastness, coming in hard with the rock-based "Ei Kuule Emo Minua." Traditional metal instruments and cavernous black metal vocals remind us of the blueprint these bands tend to work from in their day jobs. "Ukon On Tulinen Turrki" features some deep, robust clean vocals. The Finnish language sounds powerful and alien, like a secret from the depths of the forest known only to few. "Onpa Tietty Tietyssäni" features similar vocals. These lads know their way around traditional melodies and their contribution is a mighty one.
Mondvolland, from the Netherlands, contributes some flute and Renaissance sounding balladry from their homeland. They too incorporate metal guitars to tell their story. Their three songs feature some strong elements of acoustic and electric guitars, with some astute folky dynamics thrown in for good measure.
Himinbjorg, from France, contributes a very celtic-sounding piece. Flute and bagpipes immerse us in the glories of the past while ethereal clean vocals herald the complete opposite – harsh French black metal vocals keep the metal factor far from zero, while the melodies lilt and carry like a group of minstrels at a sixteenth century pageant.
Lastly, from Portugal, Ava Inferi offer us "Ao Teu Lado," a song derived from a place not too far removed from the haunting, fantastical realm of their main output. The vocals are superbly done, Carmen Simoa's enchanting Portugese lyrics providing an exotic Mediterranean feel to an otherwise Celtic, Norse, and English album. Her language is pure beauty, the song a sad epic featuring flamenco-sounding guitar over top the darkness. Her singing really brings the song home, its pain and serenity like a soft rain falling upon dying flowers.
A release such as this one proves beyond doubt that the skill and professionalism metal bands bring to the table is second to none. Roman Saenko has gathered some worthy warriors around him. Together they have retold a fraction of the storied past of a once glorious culture; one whose embattled future is in serious jeopardy due to globalization and enforce monoculture. Grab onto this release with both hands, both ears, and your entire heart. It is an essential spark to the flame of pagan metal, to our long lost heritage as Americans displaced from the motherland, and failing all that it is a superbly well done piece of music. Hail to the past. May its spirit save our future.
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