a stark, contemplative set ov song structures and compositions in the vein ov Winterfylleth
or Fen. I'll be honest with you guys here, I wasn't sure what to expect. Next to
no information other than their facebook page is up when I tried to do research,
so in the heart ov all seriousness, the best thing for anyone to do when checking
this band out is to let its music speak for itself.
The first song, titled "Linn", is this sweeping instrumental piece, accompanied by
acoustic acouterments and atmospherics not unlike early Drudkh. And it's nice. It isn't
overly drawn-out or too dramatic. It sets the overall mood for the rest ov the EP,
something a lot ov pagan bands fail to do. So often you see these bands following one
strict path, the path ov epic battles and swordfights. Speaking from experience, unless
one has that kind ov feel with every other aspect ov who they are, this rarely achieves
the desired effect. No, Nordenglander's only member sees this also and chose a different
path: nature-centric harmony. And he knows exactly how to pull it off, as is evidenced in
Lost Beneath the Bows. Not only that, he combines soloing with acoustic strumming to such a
magnanimous effect that it absolutely grabs the reader's attention from the quick. Being the
longest song in this EP, clocking in at roughly 8 1/2 minutes, it comes off as perhaps
the strongest, its only other competition being Blackhill.
Then again, there is definitely something to be said about his acoustic stylings. Linn was
simple and strong, and Interlude, though the shortest track on the album, holds its own
against its own resident titan, Lost Beneath the Bows. Not so much with over-the-top
powerhouse riffing and solo-work, but rather the feel ov emotion that comes from it. It
comes off as layered, the acoustics neatly placed behind gusts ov wind and sheets ov torrential
rain, and almost seems relaxing, albeit melancholy and hollow. To tell the truth, I found
myself actually replaying it before moving on, something that is quite a rarity when I
review albums. Well done, Andrew Scott.
The last major song before the closing refrain is Blackhill. This track, being the second longest
on the album, shows much more ferocity than its counterpart, Lost Beneath the Bows. The riff,
wholly black metal influenced by the second era from Norway, adds its own twist with combining
it with simplistic synth. Hel, it even breaks the mold by steering clear from 100% blastbeat
percussion. However, that isn't the most striking thing about this track. No, it's the
combination ov acoustic riffing and adding soloing to it. It brings out the harmony in everything,
coming off as original and fresh. Again, it's hard to differentiate which main track I like
the best. Even "These Green and Pleasant Pastures" has its own uniqueness going for it,
culminating in a compelling album deserving a second listen-through at least.
All in all, I'd say that this band has lots going for it in the UK black metal circuit. I can't
wait to see where this innovation leads it! Highly recommended.