Viking metal act LN release new single Shield Wall

LN release new single Shield Wall and sign to Rock People Management

And here’s the press release, only slightly edited and yes I have a soft spot for Viking Metal

Hailing from the North-East, LN are carving a powerful and immersive path through the modern metal landscape. Rooted in Norse mythology, witchcraft, medieval lore, and ritualistic storytelling, they blend crushing modern metal with atmospheric folk elements to create music that feels ancient in spirit yet fiercely contemporary.

In conjunction with the announcement of signing to Rock People Management, LN also release their new single 'Shield Wall' today, 9th January.

Built on thunderous riffs and ritual-esque intensity, ‘Shield Wall’ is a rallying cry written for LN’s fiercely loyal fanbase, affectionately known as the Peasants. The track channels unity and collective strength, translating ancient Viking battle traditions into a modern metal anthem.

Frontwoman LN Hirst says: " ‘Shield Wall’ was inspired by and written for the LN fan base that we refer to as our loyal Peasants. Their fierce support has got us to where we are today and we are extremely grateful for not only their love for the band, but for being the kindest and most generous humans. The opening lyrics “Peasants of LN, Peasants of now, join in our battle and follow the sound” is a call to arms for our steadfast clan, bringing them together in spirit and when played live, brings them together physically in a wall of death (a Shield Wall). The fist-pumping and body-slamming is surely a beautiful sight to behold, especially when there are blow-up shields and swords in the mix."

LN Hirst adds - "No matter who you are or what you look like, you are welcome with LN and the Peasant community will stand side by side with you to make sure you are safe and feel appreciated. ‘Shield Wall’ is about solidarity and we are proud to be able to welcome more Peasants into the clan."

Watch the video for Shield Wall below

 

ALBUM REVIEW: Epic, evocative Skälmöld superb fourth release Vögguvísur Yggdrasils

FOR many of the contributors to this and other similar sites being of a certain age our heritage no longer means where we grew up and the culture of our predecessors. Now it means the rock and metal that we have loved since the first riff wrested us from the mediocre mainstream.

Icelandic metal monsters Skälmöld take on board that metal heritage and much more. Rooted firmly in the land of their birth they have always kept true to the Norse mythology in everything they do this is a heritage of a bleak beautiful landscape and venturing forth as conquerors and explorers.  

Now on their fourth release, 'Vögguvísur Yggdrasils', they stay true to their conviction about singing in their native tongue and rise yet further.

Forget any clichés you may have about 'Viking metal' because Skälmöld are much, much more. On this album you have black metal., death metal, classic metal, blackened melodic death metal and even folk metal; you have gruff growls and sweet clean singing. Combine all that and it shouldn't work. But in Skälmöld's hands it not only works, but excels with a sheer sense of epic musical theatre.

The album is based around the Nine Worlds but we will have to take the band's word for that as we haven't got a Scooby Doo what the words are (Editor's note: We will be sending contributors on an Icelandic language course).

From the full on opener 'Muspell' to the nine minute plus closer 'Vanaheimur' the 12 legged beast of a band do not put a foot wrong.

'Nidaveillir' is a folk-ish metal tune, with no attempt to add a range of weird instruments, merely  catchy riff, chanted call-outs and metal beating in every smash by drummer Jón Geir Jóhannsson.

All six members contribute vocally, led by Björgvin Sigurðsson with a might that will impress Odin and gain a nod of approval from both Thor and Loki.

The combination of three guitars of Sigurðsson, Baldur Ragnarsson, and Þráinn Árni Baldvinsson work on synchronous level with riffs, harmonies, counter-harmonies, and solos that showcase what shredding should be - a compliment to the tune, not an end in itself.

And, it is that idea, that the tune, its reflection in a musical and lyrical master stroke that the best of metal should always aspire to.

The keyboard wizardry of Gunnar Ben is deployed in the right place, while the bass rumble of Snæbjörn Ragnarsson keeps all in check.

Songs such as 'Utgardur' have a heft few can match - elemental and with a sheer sense of scale.

'Alfheimur' opens with a riff that sound like it should be played when the All-Father leads his armies into battle. If Marvel ever hear this song they'll sign up Skälmöld to pen the soundtrack of every film with even the merest whiff of a Viking connection.

At the same time 'Asgardur' has an opening that will have Amon Amarth re-assessing their next album. Vocally and musically this is Norse, this is folk, this is metal and with Skälmöld this is a true reflection of the land and the heritage of Iceland. All with a solo that will make you weep with joy that kicks in three and a half minutes in and holds you for a full 25 seconds wishing you could write and play that well.

However, when it comes to 'Vanaheimur' the scale of Skälmöld's achievements are really evident. If the rest of the eight tracks weren't so damn good it could over-shadow the rest of the album.

From the off you sense something special, you sense there is despair and hope. There is an intense sense of Norse mythos as Gunnar's keys lead into a mid-section that builds, grows and leaves listeners with a sense of anticipation as to what the remaining four minutes will hold. Hypnotically heralding a climax - it has a cinematic feel that swells until you can barely contain your excitement.

Really it is that good.

This is the music that warriors gather in the halls of Valhalla until they once more pick up their weapons in readiness for Ragnarök, that last great battle.

On 'Vögguvísur Yggdrasils' Skälmöld have produced not only a contender for album of 2016, but an immersive metal experience, an musical ode of a greatness few can compete with. First listen will have you hooked, then it will be stuck on repeat and repeat as if Jörmungandr - the world serpent was dragging you, not to death, but to ecstasy.

Venture forth metal warriors with Skälmöld and the worlds will lie at your feet.

Review by Jonny

Vögguvísur Yggdrasil is out on Napalm recordings on 30th September

LIVE REVIEW: International roll call as Skalmold, Arkona and Eluveitie bring folk, pagan and Viking metal to Belfast

METAL makes the United Nations look like an occasional meeting of children - across the world, in nearly every country has got their own take on heavy metal and what it should sound like.

From the first proto-metal or Cream and Iron Butterfly, the first true metal of Sabbath spread like a virus, infecting every corner of the world, with power chords. As metal evolved hundreds of genres and sub-genres emerged as each new set of adherents added their own take on metal.

And, on Friday (November 14th) in Belfast's Mandela Hall an international line-up of Skálmöld (Iceland), Arkona (Russia), and Eluvietie (Switzerland) brought their own interpretations with a mystical mélange of metal mythos meaty enough and delicate enough in equal measures.

Skálmöld opened proceedings with a muscular take on Viking metal, but with their national identity seared throughout every note of their set. Vocal delivery is in Icelandic, and arrangements of some tracks reflects song patterns from the epic poems of the Viking era.

All six members of the band lend vocal parts to the tracks and as Árás leads into the epic track 'Gleipnir' Baldur, Gunnar Þráinn and Snæbjörn lead the line with Jón Gei on keyboards and oboe with Snæbjörn's drums lending texture as they move from song to song with aplomb and energy that belies their status as openers.

With a subtle blend of classic thrash, Viking metal, death metal and Icelandic traditional arrangements tracks from Napalm Records release 'Með vaettum' - including 'Með fuglum' and 'Að hausti' - were merged with older songs.

As the last echoes of 'Kvaðning' faded he applause was richly deserved. While Skálmöld have taken the Viking metal template it and added layers, the sound is rich and deep, and some original arrangements make it stand head and shoulders above many plying their trade in a similar furrow.

They earned new friends and new fans on Friday and a return to these shores would be welcomed from these Reykjavík raiders.

Coming on stage in traditional Russian pagan dress Arkona brought through take on metal with the stunning vocals of Masha 'Scream' growling in a way that many a man would envy.

Title track of the new album 'Yav' opened the set in a full-on tirade of metal with aggressive intent, despite the presence of Valdimir playing a range of wind and ethnic instruments. Rather than detracting from the sound it enhanced the overall textures, lending a breadth and depth to the sound.

Man mountains Sergei (guitar) and Ruslan (bass) rumbled throughout with Sergei roaming around the stage like Rasputin with a sore head and wielding his flying V with real metallic intent.

Andrey's drums were pounding out almost tribal beats and by the time they played 'Zakliatie' they had hit their stride. Masha's manages to contrast death metal growls with melody.

With some thought towards the ongoing Ukrainian war the Slavic triumphalism was worrying, but a little research proved that this was more about looking back - and Masha has recently said she has no interest in politics. Given the title 'Slav'sja, Rus'!' was the one that caused some concern it is reassuring that Arkona are about metal and painting aural pictures of a pagan past in eastern Europe rather than getting involved in today's wars.

Given this is a tour that sees Eluveitie back the 'Origins' album it was no surprise that many of the that release was featured. But, bloody hell, when you see Eluveitie live there are shed load of them on stage....

Really it takes until 'Nil' before you realise the stage is packed, with even the hurdy gurdy getting crowded as Anna extracted a series of deceptively complex sounds. But as they moved into 'Carry The Torch Chrigel's multi-talent was on show as he moved from hard edged vocals through to tin whistles, mandolin and several other instruments.

Ivo and Rafael provide both muscle and subtle guitar lines while Merlin and Kay somehow manage to keep the whole multiple of sounds and textures from running away into folk oblivion. They are the unrecognised but crucial ingredients to Eluvietie's success. No matter the tin whistles, bagpipes, fiddles and other instruments deployed to give the band it' folk metal status, it is these four who keep the sound 'true'.

Stand out tracks in the main set are 'Inception', 'Vianna' and, od course, 'Havoc' which all emphasise the maturity of the band as a unit - confident in delivery, composed on stage and as smooth in sound as a Swiss chocolatier pouring out a delicious confection. Indeed, this Swiss band's stature in their homeland and across Europe is such that Honda are now sponsoring them...

The encore was delivered with an atmospheric prologue before 'Helvetios' had the crowd rise in acclaim throughout the venue.

The tag folk metal is deceptive, as Eluvietie are at heart a metal act with added extras. The same applies to the pagan metal of Arkona and the Icelandic Viking metal ofSkálmöld.

No matter the prefix, it is still metal, and in Belfast's Mandela Hall the metal was pure and, yes, it was heavy.

Review by Jonny

Pictures by Metalplanet Belfast (more below!)

 

 

 

 

 

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LIVE REVIEW: Amon Amarth & Darkest Era - From The Viking Pit

MIGHTY Odin may have gazed with his one eye upon Belfast's Limelight1 on August 12th when the echoes of the heroic warriors spirits from Valhalla resounded like Loki's steed hooves flying across the roof of the world and Thor splitting the leaden skies with storms of metal.

The Celtic metal warriors who are Darkest Era opened up for the mighty Viking horde that are Amon Amarth - both with whirlwinds of riffs and unapologetic heavy metal.

And, what is there to apologise for when songs are so mighty, so deeply steeped in ancient oral traditions with allegorical undertows ripping the unwary from their comfort zone.

The last time I saw Darkest Era was when they opened for Wintersun and they left quite an impression then. Now, they are even coming through stronger, cohesive and cracking skulls with their pure take on the classic rock/metal of Maiden and Lizzy with melodic death metal twists.

Krum leads from the front, powering through releases new and old.  'An Ancient Fire Burns', 'The Morrigan' and 'Sorrow's Boundless Realm' all stamping all over the gathering crowd with tunefulness and rolling thunder from Cameron Ashlund-Glass' drums and Daniel O'Toole's bass.

Ade Mulgrew and Sarah Weighall lay down a superb set of inter-twined solos and rhythm parts - more evidence of why Darkest Era deserve to adorn many, many more metal fans collections.



With a relatively quick turnaround the stage was transformed to an homage to Amon Amarth's mythical landscape - replete with jagged 'rocks' and rune filled mini-monoliths.

From the opener 'Father of the Wolf' to closer 'Pursuit of Vikings' the Swedish five-piece proved that they are amongst the most exciting live bands.

It only takes a moment to suspend disbelief, plunge into the pit and soak up their tumultuous songs.

This was my first experience of being pummelled by Amarth - and I'd gladly succumb again.

It's not just that they put on a phenomenal live performance; it's not just because Johan Hegg is an engaging frontman; nor is it because they are tremendous musicians; rather it is because the sum of the parts comes together in one ominously glorious moment in time.

As a unit Amon Amarth are solid, tight and well-rounded, each playing their part. Mikkonen and Soderberg are linked by an ethereal bond as they use their six-string weapons to soar through solos, rip through rhythmic melodies and tear down any remaining inhibitions in the Limelight1

'Deceiver of Gods' and 'Cry of the Blackbirds' are majestic as Anderson (drums) and Lundstrom (bass) leaden the night as 'Guardians of Asgard' delivers as if Mjölnir had been wielded to split landscapes of Northern Ireland.

'Blood Eagle' saw the venue bathed - literally and metaphorically - in the life force of Vikings, while 'Embrace of the Endless Ocean' brought the narrative of the ocean bondsman and sailor to life.

By the time the encore of 'Twilight of The Thunder God' and 'Pursuit of Vikings' ended the crowd had responded to every exhortation of Hegg...and the very All-Father himself raised a toast to Amon Amarth and Belfast.

 

Review by Zakk
Sub-editing and additional reporting by Jonny

Photos courtesy of Darren @ Metalplanet

All rights and copyright of contributors reserved - reproduction of text and/or photographs by permission only

Viking confirmation

Further to yesterday's post Amon Amarth's October show has now been confirmed. It will be on Friday, October 23rd, venue and ticket and drinking horn prices soon. This will be a Distortion Project Viking Metal Hell Comes to Belfast show. :)