In Pagan Days...The Humble Beginnings Of Folk Metal!

Where did Folk Metal come from? Who were the originators? This is, for me at least, an easy question to answer. Of course, the first band to openly call themselves Folk Metal (and to receive much derision and ridicule from the music press at the time) was Skyclad. Their debut, "The Wayward Sons Of Mother Earth" was released back in 1991 and wasn't far removed from the Thrash Metal of Sabbat, but with the revolutionary addition of the distinctive sound of the fiddle/violin. Founding member and lyrical pun master, Martin Walkyier was previously the vocalist and song-writer for the band, Sabbat, who were one of the stand-out bands in the strong, but under appreciated British Thrash scene. Sabbat stood out from the crowd due to their clever wordplay and the unique "machine-gun" vocal delivery of Mr. Walkyier. After leaving Sabbat, influenced by the music stylings of Folk Rock band, The Levellers, Martin was inspired to form Skyclad and the rest is (Folk) Metal history. 

Much like Sabbat, Skyclad would fail to make much of an impact on the music scene...although this is often the case when the "industry" and the media can't find a way to pigeon-hole a band, or if the music being created doesn't fit in with the zeitgeist of the time (Grunge and the later end of pure Thrash in this case). Time of course, has proved that what they did could and has become a relatively successful sub-genre of Metal and has attracted a decent fanbase. Although Skyclad themselves have remained relatively obscure, the influence they have had and continue to have on Folk Metal bands is obvious. Quite a legacy.

"Mid-era" Skyclad lineup.

Skyclad - "Sky Beneath My Feet" (1991)

There are, however, those who would point out that Bathory pre-dated Skyclad and that founder Qourthon, should receive the credit for kick-starting the genre!? Well, yes! This is a good argument...in a way. Yes, Quorthon was one of the first to write about pagan themes and he was certainly the artist who had the most success with it and was clearly passionate about his Scandinavian roots and its Viking history. The band also had an "interesting", distinctive, Manowar style image. But I don't think it can be denied that for the most part, Bathory were a Thrash/Black Metal band with Prog tendencies. That is why I don't consider them the first true Folk/Pagan Metal band. In later years Bathory would embark on a less aggressive, more folk-influenced direction, but in this case they were followers, not leaders. 

Early Bathory promo shot

Bathory - "Twilight Of The Gods" (1991)

On reflection though, I think it is definitely Bathory who had the biggest impact on the genre (much as it pains me to type that) as there are countless bands today who use the mythology and history of the Vikings as a base for their lyrical themes (Amon Amarth, Einherjer, Månegarm...the list goes on almost endlessly), and the  scene is much bigger and stronger in Scandinavia. I think that Bathory certainly were and are an important band in the story of Folk Metal but, I think that they had more of an influence on the Black Metal scene, especially bands such as Enslaved and their ilk, rather than on the Folk Metal (musically, at least).

In  the next part I will look at the other early bands to embrace the Pagan/Folk sound and discuss the different musical and cultural directions they took.

Folk Metal...Sorting the wheat from the crap!

As we all know, Folk/Pagan/Viking (Battle, Pirate or whatever daft tag you want to add) Metal briefly became flavour of the weak (sorry, Martin) in the late 2000's. Thankfully the fad has for the most part dropped off and the plastic sword waving bellends have disappeared back in to the shadows - the fans back to their Power Metal record collections and the bands back to the obscurity in which they belong.

However, the Folk metal scene is the real deal, has great depth and variety and has been around for at least 20 years, depending on who you think "invented" Folk metal or even what counts as Folk metal. Any how, I digress. Fear not, sons and daughters of Odin (ahem), I am here to help. Over the the next few weeks I will presenting a number of blogs giving a fairly detailed overview of the scene along with the various sub-genres that come under the frankly pretty vague term "Folk Metal", along with recommendations of the bands within this splintered and often maligned scene, that are worth your time and I may even give you a few names to avoid...although that probably isn't necessary.

I'm be talking about the bands who have been plugging away since the beginning of time (late 80's/early 90's to be fair) and who didn't get a slice of the pie when the scene exploded - Skyclad, Thyrfing, Windir etc, the more recent but often under-appreciated - Svartsot, Kromlek, Månegarm, etc (the list goes on and on), the oddballs such as Rakoth and Solefald, the "big" names such as Finntroll, Eluveitie, Bathory, Amon Amarth and so forth as well as the real underground/new blood - Bifröst, Bran Barr, Drakum, Thrawsunblat, etc.

I'm hoping it will be an informative, insightful and useful look at a scene which has a real special significance for me and which I have always felt was deserving of  far more respect and attention than it has ever received.

Well, that's it for now. Part one will be up during the week at some point.

Toodle pipski!

What a year!

To be honest, I wouldn't even know where to start with a review/overview of 2012. It has been the best year I have ever know for quality metal/rock releases from newcomers and old favourites alike. It feels as if there is some kind of "raise your game" zeitgeist in the air. I have been left stunned by the sheer number of great albums I have listened to. Great, not just good...although there have been a decent number of those too. I will be attempting to get the list down to the top 20 for my "best of 2012" post later in the year. I will be mixing it up a little this time too. It stands to reason that not all of the best songs will be on these 20 albums, right? So with that in mind, I'm going to be compiling a list of the top 20 songs too and posting YouTube related videograms where available.

Like a zombie rising, stinking, from it's grave...

...the revolting, rancid beast crawls blinking back into the sunlight....and by all this bollocks, I mean that this blog is coming back. Well, for as long as I can be bothered to keep it updated for this time. Days? Weeks? Months? I have no idea. It all depends on my inspiration and feedback/interest from you good (and not so good) people. Keep 'em peeled.

New Marilyn Manson Track - And It's A Good One!

I really don't want to get my hopes up about the new Marilyn Manson album. The last two weren't necessarily bad, just very forgettable. I haven't listened to either of them in a long time. So, is now the time? Is Marilyn Manson ready to return? To shake things up again? To reclaim his place in rocks hierarchy?

On the strength of the new song doing the rounds on t'internet, I think it might be. I am still reserving judgement, however. One good song does not equate to a good album, and I have been burned before. Let's just wait and see what he serves up on Cooking Vinyl (pun very much intended) on April 30th.

For now, just feast your ears on this, "No Reflection" from the new album.

Soulfly - Enslaved

I have no idea why, but I have been quite excited about this release in recent weeks. This isn't to say I was without my reservations, but that isn't what is important here. This is a surprise to me as I found the last two albums, as well as both Cavalera Conspiracy albums, to be a bit "by numbers" if I'm honest. I got the feeling that Max was spreading himself too thinly. Well, I'm pleased to report that Max has found his bite again. It has far more too offer than the last two albums combined, and back is the Soulfly penchant for experimentation.

That isn't to say this is anywhere near to the world music meets metal of the fantastic "Prophecy" album, but it certainly has a lot more to offer than anything Max has put out since. I need to get one thing perfectly clear, though - This is NOTHING like Sepultura, so anyone still flogging that dead horse needs to find a councellor and get some closure before finally moving on. No, this is pure Soulfy, and should be celebrated as such.

Max has come storming back with a vengeance with this album. His vocals roar and tear throughout, the melodies are sumptious, the riffs headbanging, and most importantly, this is a great collection of songs. Soulfly have evolved a little again. I, for one am very pleased to welcome the band back - and you know what? I think you should be too. Max is a man who lives for this (to paraphrase Hatebreed).  He has never been anything but completely passionate. A true metal legend, and a real one of a kind.

Have a listen to "Gladiator" and decide for yourself.

The Replacements - Part 2: Successes

Continuing on from part 1, where I looked at the occasionally downright shambolic decisions made by some of metal's biggest acts when it comes to replacing a frontman, this time I will focus on some of the many success stories.

Bruce Dickinson

In 1981, Iron Maiden were coming out of a hectic 2 year period of touring and recording. They had released 2 albums and had gone on to play bigger and bigger venues in front of an ever-growing fanbase. Maiden were the new heroes of British metal, and a band most expected to go on to greater things. To lose the singer/frontman at such a crucial point would have derailed almost any other band. But this was Iron Maiden. Steve Harris made the brave desicion to fire Paul DiAnno as he felt that DiAnno was becoming more of a hinderance due to his drinking and erratic behaviour. Enter a pretty much unknown young singer, Bruce Dickinson. At the time, Dickinson was frontman for another up and coming Britich band, Samson. His decision to join Maiden would prove disastrous for Samson, but for Maiden, Bruce was the catalyst they needed, the mussing link to take them all the way to the top. He had the look and the voice that was perfect for Steve's vision. The band exploded and went on to become on of the biggest, most loved and respected bands in metal history. Would any of this have been realistically achievable with DiAnno? I suppose we will never know, but with the confident, charismatic and most importantly, impressively talented Dickinson on board, the standard was set and the bands future assured.

William DuVall

This was always going to be a controversial one. Replacing a legendary, passionate and respected frontman like Layne Staley would be hard enough as is, but when you take into account that AIC hadn't released an album in a decade and during that time, Staley had died of a drug overdose, it becomes a whole new challenge. It was one that the band, with DuVall at the helm, took head on and silenced the naysayers and doubters with ease. I was lucky enough to see the band perfom with DuVall at the Download Festival a few years ago and it was a genuine "goosebumps experience". Of course, he could be accused of being a Staley clone (if not in looks, obviously), but the point is, he delivers and the band has successfully been regenerated and rejuvinated at the same time.

John Bush

As one of the members of  the so-called "Big Four", Anthrax were big players in the 80's metal scene - even managing to break through to the mainstream consciousness with their cover/collaboration of "Bring The Noise" with Public Enemy. So, the departure of Joey Belladonna could easily have completely derailed the band. Enter former (and current) Armored Saint singer John Bush. Bush brought with him a far superior vocal range, which was also better suited to the Grunge era of the early 90's than the higher range thrash style vocals of Belladonna. When this new (improved?)  incarnation of Anthrax released the ground-breaking and all conquering "Sound Of White Noise", they took the "Beavis and Butt-Head generation" completely by storm - It has to be noted that getting the "rub" from B&B was in essence a "golden ticket" for any band. The two decades that followed brought mixed fortunes for the band, along with a tiresome "soap opera" farce of replacement vocalists and scrapped albums. Overall though, Bush-era 'Thrax was a massive success.

Howard Jones

When Jesse Leach quit KsE for "health reasons", it shook the band. They had just released the superb "Alive Of Just Breathing" and had caught the imagination of metalheads who has been starved of quality metal in the preceeding Nu-Metal years. They seemed guaranteed to be a break out band and go froward as the next big name in the scene. Replacing a vocalist at this point could have been a disaster. It was crucial that they chose the right man for the job. Enter Howard Jones, a relative unknown. Although he didn't have the ferocity and edge to rival Jesse's considerable talents, he had a very strong clean voice and was hugely charismatic. KsE didn't miss a beat. A string of successful albums and tours followed  as the band continued on its path to become a heavy hitter in the scene. A definite success story.

Ronny James Dio

Of all the men on this list, it could be argued that the challenge facing Dio was the most daunting. He was to replace the mighty Ozzy Osbourne in Black Sabbath. Sabbath had an amazing first half to the 1970's, releasing five classic albums in succession. It was the latter half of the decade, however, where things started to go wrong for the band and following three lacklustre albums, Ozzy's alcohol and drug problems got too much for the band and he was fired. In came American, Ronnie James Dio. A man who already had a rock pedigree as the singer of Rainbow. In 1980 the band released the incredible "Heaven And Hell" album which not only rejuvinated the band, but took them to the next level. In the years to come, Dio would record with the band sporadically, but almost everything he recorded with the band was of a high standard, including my personal favourite Sabbath album, Dehumanizer. Although, it should be noted that the Sabbath name itself became pretty much worthless after being tainted by a ridiculous revolving door of vocalists.

There are of course many others in both camps, including probably the most successful of all the replacements, Brian Johnson, who brought AC/DC back from the brink of collapse and led them to become one of the biggest bands on the planet. Also worthy of a mention in the success section are Angela Gossow (Arch Enemy), Sammy Hagar (Van Halen), Barney Greenway (Napalm Death), James LaBrie (Dream Theater), Tomi Jautsen (Amorphis) and many others. Other notable failures include such poorly thought out choices as John Corabi (Mötley Crüe), Marco Aro (The Haunted), Kristoffer Göbel (Falconer), etc

I will come back to this subject at a later date.