I've received such an information, so I am posting it here. You can watch new trailer of Woodtemple and check if their (or better his) upcoming album "Forgotten Pride" will be something interesting for you:
Album will be released in January or February 2014 via Sturmklang Records.
This album is a compilation of previously unreleased material. It contains only four songs, and lasts for circa twenty minutes. Here you can read more about it and actually listen to it for free - as it's available on Kroda's bandcamp. I may only add that the physical version (limited digipack) will be released by PTF in the beginning of November. For those who are not familiar with this band I will write few word why it's worth to have it in your collection.
And it's woth because it shows a bit different face of Kroda. The first track is played (as it's written on bandcamp) in a viking rock style, and bases on traditional nordic song. The main vocals are a female one, while the howling of Eisenslav is a bit on the second plan. In my opinion it sounds very good, and it would be interesting if a band adopted such elements on a new release.
The rest of the material is more typical for this project. "Nemesis" is a german folk song, played on traditional ukrainian instruments (sopilka etc). If you heard "Oj na Gori..." from "Funf Jahre Kulturkampf" you can be sure that it sounds really (let's not be affraid of that word) nice. This track is also a good break between "Werwolf" and "Der Scharlachrote Tod". Both of those tracks are covers - the first one is Temnozor's, while the second one is Absurd's. It's not a big secret that Kroda knows how to play in interesting and ass-kicking way music of someone else. "Werewolf" is a bit different than the original, and moreover it's so full of energy that it looks a bit strange how only one person can make such a gehenna! The last track is like his predecessor a guts-grinding piece of brutal art, except it's a live version. And well, it just proves that Kroda is a beast on the scene!
I listen to "Varulven" whenever I can, and I am already preparing some money to buy the upcoming digipack. To everyone who is a fan of this ukrainian band or is simply interested in pagan/folk metal scene I recommend to do the same. A short, yet very good release.
Rate: 8+/10
Vladyka
Tracklist:
1. Varulven
2. Werwolf
3. Nemesis
4. Der Scharlachrote Tod (Absurd cover)
Waylander is a pagan metal band, formed in Armagh (Northern Ireland) in 1993. A year ago they released 4th full lenght album entitled "Kindred Spirits", containing a great portion of oldschool pagan metal. It was a good oportunity to ask them some questions. Read what a co-founder and vocalist of the group, Ard Chieftain O'Hagan, have to say about last album, his band and some other various things.
1. Hello! Let’s start this interview with
something nice and easy – please name some good music that you have listened to
recently.
Greetings. Recently I have been listening to my
old tapes. A lot of the old Thrash stuff hasn’t aged well but Sepultura’s
"Schizophrenia" is one album that stands the test of time. I’ve been
really enjoying Bathory’s "Blood Fire Death" and "Under the Sign
of the Black Mark", truly inspiring music.
2. OK, that was a warm up, now let’s talk about
your band. It’s been a more than a year since you released your last opus
„Kindred Spirits”. What were fans’ reactions on this material? Did you receive
any negative opinions?
Most people were of the opinion that Kindred
Spirits is our strongest album thus far, which is obviously pleasing to us. I
honestly can’t recall reading a really negative review, which makes me a tad
paranoid to be honest!
3. I must say that the title „Kindred Spirits”
is very intriguing. Can you tell me something about the lyrical concept of this
album? What are your favourite lyrics and why?
Kindred Spirits refers to those who are
followers of the olden ways, those who consider the Earth we live on to be
sacred. On this album I am quite pleased with the lyrics to Lamh Dearg, I think
they set the scene well and poses some questions which would be considered a
bit controversial round these parts.
4. It seems that a lyrical part of your
creativeness is very important to you. Do you think that people who listens to
your music get interest in Irish literature and history?
Over the years many people have developed an
interest in Irish Folklore and History after getting into Waylander. It is very
gratifying to say the least and makes it all worth while for me on a personal
level. Coming from the north I find it especially pleasing when people
from opposing traditions can both take something positive and enlightening from
my words.
5. When it comes to a metal section your music
is very diverse – there are many musical influences which we can hear on every
album; black metal, doom, thrash and even classic heavy… Each member of the
band is such an open-minded person, haha?
Some of us are more open minded than others,
that’s for sure! Basically, we are all just Metal fans who don’t as a rule get
ourselves bogged down in any one particular genre. From a personal perspective
I just couldn’t imagine only listening to one genre only, it would bore me to
tears. Diversity is the spice of life.
6. As far as I know your plan was to create a
bit more heavy album than “Honour Amongst Chaos”. I think that you’ve reached
the goal. But why did you decide to go into darker musical fields? What was
inspiring for you this time during a composing process?
Most of us are into the more extreme end of
metal so it made sense that we travelled down that road a little more than
usual. We did agree at the outset of this album that this was our goal but to
be honest it wasn’t really discussed much more after that initial meeting.
7. You are playing folk metal in very oldschool
way – I mean, the folk tunes are only an addition to a purely metal core. I’d
like to know how looks your style of making new songs. Do you always starts
with a metal riff, or sometimes the first step is a creation of folk tunes?
For the most part the riff comes first but
obviously there are exceptions to this rule. Whatever sounds good to us really
is our simplistic way of judging things. We have always said we are a Metal
band, not a Folk band and that remains true to this day and I am pretty sure
this will continue to be our mantra.
8. By the way, I heard that you don’t like the
term “folk metal”. Is that true? Do you think that there are to many poor
bands, and so you don’t want to be associated with them? Nowadays there are
loads of bands that plays jolly polka-metal, singing about trolls and booze, so
it wouldn’t be a big surprise for me…
Haha, yes, I think you have hit the nail on the
head there. When we began there was no such thing as folk metal, it was
something that was invented by journalists. At the end of the day it isn’t very
important what we are dubbed. We are what we are, like it or not, call it what
you will.
9. One more question bounded with genres. I
noticed quite many times that your band is labeled as “Viking metal”. Don’t you
think it’s kinda weird for a Celtic band, especially that your ancestors were
fighting with the Scandinavian raiders during the Viking Age?
I’ve never really noticed that we’ve been called
Viking metal before. Now, that is the height of lazy journalism! In fact, it is
retarded. The Irish, after all, gave the norsemen quite a few kickings over the
years!
10. OK, back to the music. What inspires you
when you are adding folk tunes into the songs? A Celtic folk scene is pretty
big, so can you name some particular bands?
Horslips and Clannad always. There’s no point in
getting bogged down in listing bands. At the end of the day, the irish
traditional music scene is alive and vibrant and there is a multitude of things
to be inspired by.
11. Let’s talk a bit about your past now. There
are quite many interviews in which you’re describing band’s history, so I will
focus only on some details here. You founded your band 20 years ago, in 1993,
in the time when folk metal almost hadn’t exist. Can I know how has it happen
that you started to incorporate a folk tunes into your music? Maybe a Skyclad
was one of inspirations for you back than?
Many years before Waylander I had an idea for a
heavy metal version of the Horslips but nothing ever came of it. When Skyclad
came along it was only a matter of time before Waylander were formed. I was a
big Sabbat fan and was quite blown away by "Wayward Sons" when it
came out.
12. By the way, what do you think about this
band nowadays? Don’t you think that they deserve more attention, as one of the
pioneers of this pagan/folk metal genre?
To be honest I’m not that bothered by anything
post "Jonah’s Ark". And, yes, they definitely should get a lot more credit
for defining a genre.
13. Until “The Light, The Dark and The Endless
Knot” your music was a bit more raw and extreme. So how has it happen that you
had soften your sound on “Honour Amongst Chaos”? That was a plan, or maybe it
came naturally to light during the creation of the new album?
No plan, and I have to disagree with you here as
I don’t think our sound softened at all on Honour Amongst Chaos. We did
consciously add more atmosphere but I think the almost ‘ proggy ‘ feel to the
album came about due to the length of time we had the songs around for. We
couldn’t resist adding little parts here and there. At one stage one of the
songs clocked in at 23 minutes for example but we somehow managed to edit it
down to 10 minutes.
14. “The Light…” has a very weird artwork, well,
at least I think it’s a bit weird haha. Can you tell me what story is hidden
behind this picture?
It’s all about perceptions of Light and Dark.
One figure is the Horned God, Cernunnos, who the christian church demonized,
who became the satan figure. The other is the Earth Goddess, a representation
of Light. The Endless Knot connects both of them as they are all part of the
cycle of life. The artwork does seem different for Waylander, but in saying
that, that album was also very different for Waylander. In effect this was an
experimental album which didn’t quite turn out how we expected it to. The
artwork was created by Paul McCarroll of Unhinged art fame and was a definite
deviation from his normal work.
15. As I see it, after releasing “Honour…” your
position on pagan metal scene has strengthen. This album had much better
promotion than the previous ones, and since then you don’t struggle with too
many line-up changes. What do you think about it? It seems that Listenable
cares pretty well about your band.
I agree with you here. Listenable have done all
they can for such a small label. They took a punt on us when noone else would
so we will always be grateful for that. As for lineup changes, well, these
things happen, we’ve got to the stage now where it no longer fazes us in any
way.
16. OK, now let’s talk about some things outside
the world of music. I know that nowadays not many people on your island speaks
Irish. So do you know this language personally?
The language is still spoken in many areas and
the number of primary schools who teach through the language is very much on
the increase, so I think the language is here to stay. As for me, I am not
fluent but I still can converse on a basic level and have a great respect for
the language of my land. My son and nephew are now learning the language so I
am trying to help them out and in turn this is good for me as i now have to
polish up on my knowledge.
17. The Irish literature is reach in many
meaningful characters. Who is the most inspiring Irish hero for you and why?
CuChulainn, without a shadow of a doubt. He
trained as a warrior near to where I was born, at Emain Macha, the Ancient
capital of the northern province of Ulster, so I always have and always will
have a special place in my heart for CuChulainn.
18. Last question is simple. What are your plans
for the future?
To write more music that inspires us.
19. That’s everything I’d like to ask. Thank you
very much for your time, and good luck in the future! If there is anything you
would like to add, feel free to do it. Cheers!
Many thanks for the questions and the support,
it is greatly appreciated.
---
A single from "Kindred Spirits":
Photos: band's archieve.
Interview by Vladyka 2013. Please do not copy
this interview without HA'Z permission. Respect the copyrights!
Moss of Moonlight is an american duo, founded in 2010 in Bellingham. They have only two releases on their account so far, yet the last EP "Winterwheel" is already a good piece of music - an interesting mix of black/folk metal with ritualistic attitude. Some people says that there are no good pagan metal bands in USA - Moss of Moonlight defenitely give the lie to it! Check out what Jenn and Cavan have to say about their creativeness, Old English language and some other things.
1. Hello there! First
of all congratulation - your EP "Winterwheel" makes a really great
impression. How fans reacted on your last realease? You get many support from countries
beside US?
Jenn: Thank you!
We've received excellent support from people across the globe. (Much gratitude
to everyone!)
2. Your music is
being labeled here and there as a black/folk metal, but you defenitely don't
sound likea typical representative of
this subgenre. It can be heard that you two are inspired by many different
things. Can you tell me about your musical inspirations - not only this metal,
but also folk?
Cavan: We
certainly don’t limit the music that inspires us. There’s an array of music we
take from; it all depends on what feels appropriate for what we are trying to
convey. Often times, it’s not so much a particular band influencing us, but
perhaps an instrument and the history and meaning behind that instrument. For
instance, Hraefne was deeply inspired by the cow horn played in the song. You
can hear all the grittiness and grooves of even just the horn's physicality,
and that texture and viscera adds an extra layer of feral honesty to the song.
3. To be honest I
haven't listen to your debut album "Seed". Can you tellhow different it is comparing to your last
EP?
Jenn: Hm. Perhaps a little more frenetic, and a bit
less focused?More epic, and powerful in
a bombastic sense, certainly.We were
more focused on spilling our guts into our music, so I think there's a
different sort of gutteral honesty present in it, that's more subtle in
Winterwheel (which is a tighter bound album—cyclic, you could call it - that
focuses on learning and paying homage).
4. "Winterwheel"
has a very ritualistic attitutude - it sounds like a soundtrack for wandering
alone in some misty mountains. That was the main goal you wanted to achieve? I
must admit that I am impressed when those neofolk influences take up. I mean
especially the last track, highly influenced by that kind of playing.
Jenn:Again, thank you.Creating a ritual was certainly the goal, to
create a musical winterscape, a reflection of the progress and decline of the
cold season throughout the whole of the year.It seemed only appropriate for it to be imbued with a dark neofolk
backbone.
5. By the way - do
you like trips to the mountains, haha?
Jenn: Of course,
ha.You can't truly write about the
mountains without going into them.
6. Many parts of
vocals seem to be inspired by Wardruna. I simply ask: what do you find the most
special in this band? And how did you enjoy their last album "Runaljod -
Yggdrasil"?
Cavan:
Runaljod was a pleasant addition to my music collection. Wardruna really
captures the essence of the old ways, and it’s a breath of fresh air for those
of us who seek the gods through music, as sort of a modern skaldic practice of
Paganism.
7. How looks your
composing process? While writing new music, are you more focused on improvising
and flow or is it more a matter of deliberated concept for each song?
Cavan: There are
certainly melodies that begin as improvisations, but evolve into something
more. I'll sit down and hack out a whole
song, sometimes in one sitting, then have Jenn listen to it (and rip it apart,
oftentimes).She'll begin working on
drum parts and lyrics once the song's basic structure is laid out, and she's
satisfied with the direction things are headed in.But even after we've moved past that more
fluid stage of songwriting, where you're just playing and writing more than
thinking, we still strive to maintain the flow of a song—we never want to bore
the listener.
One thing we pay special attention is a certain tightness
that binds all the song of an album together—you could call it theme, or
concept, or narrative, I suppose (depending on the album, and what we're trying
to accomplish).An album should have no
weak songs, everything should be woven together.No song is ever truly finished until the album's
concept is finalized, and the song has been carved properly by that concept.
8. Are you currently
working on new material? What musical areas do you want to explore in the
future?
Jenn: We're
working very slowly, and mindfully, on our next album.Thus far, we've turned our gaze back home
(stepping away from Anglo Saxon paganism, for now), to this story we want to
tell, about a wandering warrior-bard returning to her seaside home.There's actually a lot of research to be done
for us to tell the tale properly (reading and experiencing things like
biodynamics, wildcrafting, and permaculture), so we're taking our time.We have a a couple songs
written/half-finished, and a definite album title, but everything else is still
underground.
9. I must admit that
as for totally underground band you've achieved very good sound for
"Winterwheel". Can you tell me how was the recording session? It was
hard to achieve such a good production?
Cavan: The
recording for this album went quite well. Our first album taught us a lot
(since we did all the engineering ourselves, at a recording studio at Jenn's
college), so keeping those lessons in mind, Winterwheel was very fluid. It was
still a lot of work, however, since it’s just me and Jenn playing all the
instruments ourselves. But our life was
made much easier, since most of the audio engineering was conducted by Jimmy
Hill at Amplified Wax, in Spokane, Washington—he's a great guy, and really
knows how to keep things relaxed during a recording session. We had a vision,
and as an engineer who understands metal, he really helped us capture what we
wanted.
10. OK, now let's
talk about lyrics. Your debut album "Seed" was considering a concept
of Cascadia. Can you tell me more about it? It seems that it is some kind of
world that you've invented for musical purposes?
Jenn: Cascadia in
and of itself is very much a real place (a bioregion), but yes, the Cascadia of
SEED was more speculative in nature.It
had to be, because we were telling the story about a rebellion that had yet to
occur, a rebellion that (hypothetically) creatures an independant nation called
Cascadia.
11. Your second
release, "Winterwheel", is focused more on the old anglo-saxon paganism. Can you tell
me something more about it - why have you chosen such topic, and what story is
hidden behind each song? Or maybe it's a conceptual album?
Cavan: We find
much spirituality within our homeland, Cascadia. But for this EP, we wanted to
turn inwards and explore Paganism and spirituality on another level. We wanted
to focus on one aspect of our heritage and the Anglo-Saxons were a nice
crossover between us. Though there is much Old English literature which still
survives, it does not pertain (or has been altered to the point that it doesn't
pertain) to the old Pagan ways. In one
regard, this is disappointing because of the lost knowledge, but on the other
hand, it allows for much needed exploration. Each song on Winterwheel was meant
as an offering to an individual god: Thunor, Hretha, Freya, and Woden,
repectively. The stories for each song are rooted in the lore associate with
each deity.Some lore was
reconstructed using surviving Teutonic literature, while some was developed
along the way.
12. There are many
verses written in old English. Do you both study this subject?
Cavan: I have studied Old English in a
classroom setting in the past, and still continue my learning as a sort of
hobby. Being a linguist, it’s a nice way to utilize my knowledge and challenge
myself. In the context of the album, the
Old English was used as a means of strengthening our connection with the gods,
and speaking a language once more familiar to them.
Jenn: Alas, I
have not studied Old English beyond the bounds of this album, and apologize for
my (hopefully not too terrible) mispronunciations.
13. How serious is
this whole pagan thing in your case? Do you treat it in some religious way, or
as some kind of worldview and wisdom of forefathers? Or maybe it inspires you
only as a kind of literature?
Jenn: For me, my
paganism is wild.I don't really believe
in gods or goddesses as real entities, but rather as a way to delineate the
forces of chaos and the cosmos.Their
stories and distilled natures are like interpreters for me—but then again, I
use science, science fiction and fantasy literature, drumming, and storytelling
as interpretation, too.At it's core, my
spirituality comes from my love of the cosmos, nature, the unknown .I'm Pagan, yes, but unexpectedly and weirdly
so.
Cavan: Paganism
is my way of life.
14. OK, back to the
band. You released "Winterwheel" by yourself, while your debut was
realeased be Cascadian Alliance. Yet as far as I know this label belongs to
you. Why did you decide to work for your own?
Cavan: Actually, the
EP was a Cascadian Alliance release, as well. We probably just haven’t updated
the website, haha. We wanted to start the band off as independent artists, not
bound to the expectations of a record label, so that we could look at what
we’ve done and know that the concepts and creativity were purely our own.
15. OK, at the end
I'd like to ask you some short, random questions, starting with the letter
"m" (like Moss of Moonlight). What do you think about:
- modern folk metal
scene?
Jenn: Some good,
some bad.Could do with some innovation.
- mead?
Jenn: Mead?Meh.
This is a terrible thing for a fan (and musician) of folk metal to
admit, but I dislike booze.Bread (or,
in the case of mead, honey) is for eating, not drinking!
Cavan: I have to
disagree with Jenn on this one. There are a great many meads and beers out
there worth celebrating, and Cascadia boasts of a plethera of distinguished
microbreweries.
- metal fans in
general?
Jenn: Some are
assholes, some are lovely specimens of lung-possessing hunks of carbon.Really, we're just human beings like everyone
else- maybe a little more obsessive than usual, but still.Human.Personally, I love a good show not only for the music, but because I
feel at home.I'm with my people.
16. Before we end,
please share with us your plans for the future.
Jenn: At the
moment, band shirts!We just sent in an
order for a new design (by yours truly) for Winterwheel of an elk with
roots-for-hooves (in honor of our interpretation of the Anglo Saxon goddess
Hretha).A contest may be in the works
to win the original artwork.And, of
course, we're working slowly (very slowly), steadily, on our next full length
album.
17. That's everything
from my side. Thank you very much for your time, last word traditionally
belongs to you. Cheers!
Cavan: Yeah, pick
up a copy of Winterwheel if you haven’t already and experience the ritual with
us. Also, be on the look out for Moss of Moonlight in 2014, because there’s
gonna be a full length album that takes it even further! Thanks for letting us
be a part of your Heathen website!
---
Single from "Winterwheel":
Photos: band's archieve.
Interview by Vladyka 2013. Please do not copy this interview without HA'Z permission. Respect the copyrights!
This is the 3rd album of the english one-man project Nhor. I've never heard about it before, but that's why Metal Archives exists, huh? So, before the listening I've learnt that the band is playing black/doom metal, with additional adjectives such as "atmospheric" and "ambient". And what it means in reality?
If you will listen to this album for the first time, you will initially get the impression that the base here is quite raw, fast black metal, mixed with many doom metal parts. That's because of the first two tracks (even if in the second track there are some female laments mixed with screeching guitar sounds). The vocals are howling like some lost forgotten sad spirit (hehe), the riffs are being played fast (but not unduly) and drums are raging in the background. Yet thanks to a specific production it doesn't sound excessively powerfull, so don't expect blasphemously strong power similar to Marduk.
Since the third track starts, "Patient Hunter, Patient Night" the music strongly slows down. Nhor starts to create more tranquil atmosphere, full of once again screeching guitar riffs and piano-like synths played on keyboard. From time to time he is breaking up again with fast blast beats and tremolo pics, only to return later again to quiter forms of expression. He often uses clean guitars, but in that kind of playing it's really nothing new; yet he's doing it with fineness, so it doesn't sounds like some cheap weeping for depressed teenagers.
Most of the tracks are really long (something about 10 minutes) and they deliberately flow, creating a nostalgic, sometimes a bit melancholic atmosphere. It sounds interesting when leisurely, blurred riffs mingle with mentioned piano-like synths and croon of a singer (in for example the track called "Rohmet Etarnu"). And to be honest I discern the main potency of this album in such tranquiled parts. The music is not very complicated (yet with relishes here and there), though it sounds very mysterious. It simply draws a listener into its own dark world, and doesn't want to release him for almost an hour.
To sum it up: the fans of minimalist, gloomy music should be interested in getting this album.So if you like that kind of playing - this is something for you.
This is the 5th album of ukrainian black/folk metalers from Kroda. Or maybe I should write "metaler", because this is also the first album released after leaving a band by one of the co-founders - Viterzgir.
Well, I am not sure if this is beacause of line up changes or not, by "Schwarzpfad" is much more rawer material than the previous ones. The ukrainian folk instruments are reduced here to minimum. But don't worry - Kroda haven't loose it's original sound. Traditional instrumentation this time is being used not to create an atmosphere, but to just highlights it. I love their previous stuff, but as for me that kind of playing is also pretty good! It can be clearly heard that Eisenslav decided to create much more darker compositions, and so to use more keyboard instead. It really works, the music is more mysterious and even a bit depressive. Just listen to this weird, haunted ending of the second track "Universal Provenances" which I am listenning now - it makes overwhelming impression.
Predominatingly characteristic, possessed vocals are howling desperately about the upcoming end of the world, guitars are mostly grinding listeners' ears with quite melodic, yet still very raw riffs and drums are quickly striking rhythm heralding the upcoming Ragnarok. Yet quite often everything turns into slower, more melancholic areas with usage of folk stuff or just acoustic guitars. But of course as I have written before don't expect another "Cry To Me, River..." because this time Korda explores more gloomy fields. The last novelty is the ending track "Cold Aurora", entirely composed as an cold, ambient thing. Most of the bands which tries to compose such things are just boring me to death, but in this case it's a great example how to end the album in a big way.
To make it quick, generally speaking I am glad that Eisenslav do not goes the easy way, but still tries to create something fresh. "Schwarzpfad" is a great piece of black metal art. The maniacs of that kind of playing should immediately get this album, if they haven't already do it. All hail Ragnarok!
Ok, I must admit - I was biased when I saw the image of this american duo. When I saw the cover art of this EP and learnt something about their music and lyrical concept my bias has only increased. You see, Moss of Moonlight plays Black/Folk metal, with many female vocals. Additionaly the musicians are married. Because of that I was expecting a complete disaster, dressed up in some gothic or pseudoromantic attire.
Fortunetely I was totally wrong, and once again I've learnt that you shouldn't judge a book by it's cover. Yes, there are many female vocal parts, but they don't sound like another UnSun. MoM focuses on creating a ritualistic, pagan atmosphere close to neofolk projects like e.g. Wardruna. Most of the tracks are pretty long (lasting more than 10 minutes), and so there is a lot going on here. Traditional instruments are being used frugally, and thanks to that the specific atmosphere of this EP is only highlighted - I really don't think so that noisy, fast folk parts would fits here. If you don't believe me just listen to the last track on this release, and you will understeand me. "Hraefne" is a track almost completely composed in neofolk/ambient vain - but this shamanistic attitude is present in every song.
Mentioned female vocals are very often the element creating folk, a bit nostalgic atmosphere (like e.g. in the first track "Gaet" or middle part of "Catte"). Together with many slow guitar solo passages it sounds very interesting. Jenn (a vocalist) is often supported in singing by her bandmate Cavan. He sings both harsh and clean vocals, and I must say that I like both of these styles, especially when they turns into this more haunted, shamanistic areas.
A black metal parts neatly interweave with those ritualistic ones. The music flows very smoothly, and it's a true pleasure to listen to it. The only thing that I have mixed feelings about are the moments when a band sounds a bit like some power metal from Finland - and this stick mostly to the opening track "Gaet". This song seems to be a bit messed up - when I listen to it I always have the impression that in some moments the band doesn't know what they want to do. The music looses (ironicaly) immediately the power, and unfortunetely smear the musical concept. Too bad, happily each additional track is getting better and better. There is a hope that another album will be created without such failures.
Moss of Moonlight created a good album, mixing many of their inspirations into the interesting dish, flavoured by a pinch of originality. It tastes pretty good, although I hope that another material will be a truly satiating portion of some musical masterpiece.
