| Reviews for Skagos's Ást |
| What musicians one day hope to achieve - 100% |
| Written by BlackSeal
on November 7th, 2009
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| It's not very often that I decide to write a review. I'd much rather read what other have written than put my own opinion out there, because quite frankly, I'd rather watch TV than put in the time to construct a review as most albums just aren't with the effort. However, every now and then you get a piece of work that is so good (or remarkably bad), that it demands a review be written, and let me tell you, Ást isn't good. It's absolutely amazing. In a world where literally anyone can release a metal album, finding a strong record is tougher than week old French bread. Fortunately, there are a select few out there that still write and release music that is worth listening to. Unfortunately, they’ll never get the recognition they deserve, and it takes quite a bit of digging to find them. Nevertheless, dig I did, and this was the end result. I’m going to start off by saying it was around two-thirty in the morning when I first heard this album. I was sitting in my bed with my laptop, surfing through various metal-related websites, when I came across a link for this album. It was the band logo that stood out to me, because in my tired state, it made absolutely no sense. Regardless, it was reason enough to hit “download” and check it out. Beginning with the slightly strange (but intensely cool) “Colossal Spell”, I was drawn into something. Just as with the first time I heard it, I’m still speechless as how to describe it. It eases your mind; clears it, preparing you for the initial rush of “The Drums Pound Every Night in a Glorious Celebration of Life”, which then fades into a beautifully done slower paced passage, allowing you to reflect on what you’ve just heard before hitting you again. At this point, you can hear everything that’s going on. The vocals have the harsh “black metal” edge to them, but they are able to maintain a slightly... melodic undertone. Where most albums have the vocals thrown on so they slowly give you a migraine, Skagos have found the midpoint. It’s completely appropriate for the style and songs, but it won’t drive a nail into your head. The guitars stand out the most to me. With the album’s production and atmosphere, they could not possibly sound better. Bass-heavy, contrary to the usual treble overloaded tone that I’ve become accustomed to from this genre. The bass may be somewhat inaudible (or plain non-existent, to me) but I’ll give it the benefit of the doubt, as my computer has been somewhat strange with the speaker channels as of late. Lastly are the drums, which fulfill their duty extremely well. They alternate from straightforward black metal blasting into slower beats, fitting the clear guitar tones very well. Not to say these are the only instruments involved in this collection of songs, but they are the main focus for the majority of the album. There are some interesting combinations found here, however, like the (what I’m assuming to be) bongos, and layer guitars on the album’s final track “A Night That Ends, As All Nights End, When the Sun Rises”. Actually, it’s incorrect to call this music. This is art perfected. It’s not often that an album grabs you and takes you on a journey. In my sleepy state, I was most certainly whisked away, and carried into the forest by Skagos. |
| Skagos is perfection - 100% |
| Written by brainsmasher
on November 3rd, 2009
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| Do you ever listen to an album and after your first listen you feel like you know it really well? I find this happening to me when an album fills a void for me. Or completes a connection, and makes a next logical step in the progression of a certain marriage of styles or atmospheres. I feel familiar at these times because I feel familiar with what I want to happen, what I need a band to deliver. I always need it until I find it. Whether you like them or not, Wolves in the Throne Room is making an influence. I'm not 100% confident saying that Skagos is hugely influenced by Wolves, but that Skagos takes many of the same elements and influences and has recorded the next logical step beyond that which Wolves in the Throne Room perfected. Skagos has big riffs. Big, huge, churning, long, traveling kinda riffs, but they come in many different types. This album's charm though not uncommon, is the use of ebb and flow. Riffs drift and build and are harmonized upon and build rhythmically as the percussion also fantastically builds the repeating riffs until they soar and pick up tempo. All of the instrumentation is used magically to achieve this effect. Clean choral type vocals, bongos, acoustic guitar, killer bass playing, you name it, its all present and totally ruling. This band along with a growing number of cohorts (including Velnias) among the youthful genre employ a familiar style based on this technique: establishing a simple power chord or note that is often returned to and built off of for most of the song. For me this can be likened to the strong choral elements of the first Ulver album. This may not sound like anything all that original in black metal and I'm not saying it is extremely so, but I find its a strong tendency and a thing I like a lot about this album. Overall "Ast" is an exciting mark of birth upon a genre that I hope I never get sick of. If the fact that Skagos' members just graduated high school in May is any indication, there is a bright future for these gents, though I'm afraid to report that after two forthcoming splits or so and a full length Skagos will cease to exist as reported on their page. From: http://hearholeaholics.blogspot.com/ |
| A Glorious Celebration of Life. - 94% |
| Written by Perplexed_Sjel
on September 3rd, 2009
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| Canada is surely the unsung hero of modern black metal? Discussions on the best scene don’t tend to run long into the night as Germany, and their fellow European friends, tend to dominate the leader board, tipping the scale in favour of the Europeanised black metal market and pushing other scenes into the thickets of dense forests. Scandinavia was the scene that made black metal stand up and be heard and now, in the wake of its modern demise (for all intensive purposes), countries like Germany have raised the bar and expectations have limited the chances of bands from so-called “lesser” regions of the world. Unexplained mysteries like, “if a tree falls in the woods and no one is around to hear it, does it make any sound?” can be likened to the situation of scenes pushed into the unenviable darkness as the European hand of dominance slams down and swipes away the trail of blood left from the devastated continents outside of the European borderlines. Bands outside of Europe don’t tend to fair as well in the market, unless they’re from North America, but even then, that particular scene has a poor reputation, certainly in comparison to its European counterpart who packs more punches than the glass jaw of America can handle. Quietly, then suddenly, impacting bands make their arrival on the scene with no expectations and subsequently dazzle the surprised masses into a state of shock. Only European bands produce the sound of magnificence, surely? Canada, for a few years now, has a notable, but modest reputation within the scene. It is home to a few bands whom have left lasting impressions and individual legacy’s that will stretch into the metaphorical distance of time and stamp their influence on future bands, future scenes and future musicians alike. In recent years, acts such as Gris, which features perhaps the most accomplished black metal vocalist of all time - Icare - and the irrepressible Sombres Forêts, a particular favourite of mine, have emerged from behind the European manufactured screen and have stormed into the lives of fans worldwide, disrupting the harmony amongst the European legions which had become a tad cocky amidst their total domination. With the merging of these two greats into the soon-to-be unstoppable force of Miserere Luminis, the Canadian scene has much to look forward to and not only does it feature this highly rated (and for good reason) black metal bands, it has notably strong roots with acts like Monarque and now this band, Skagos, leading a combined charge in the face of the enemy. Of course, for us fans, we can rest easy and watch as these strong willed scenes compete for glory. We’re the eventual winners as more and more talent streams out of the established bases. Unless you’re “down” with the modernisation of black metal, then you’re going to be left in the cold. Bands like Skagos are influenced by noteworthy acts such as Wolves in the Throne Room. These types of bands have much success, but oddly, limited appeal. They feature under the “marmite prophecy” which suggests that you’re either going to love, or hate what you’re going to hear from bands such as these. Skagos are a clear product of the modernisation of black metal. There may be a few ties to traditional aspects but, for the most part, these ties can be cleanly cut loose at any given moment and without warning. Skagos are, inevitably, going to challenge the perceptions on what constitutes as black metal and what should be viewed as a derogatory development of the scene which has brainwashed many into believing that the 1990’s were the be-all and end-all of the black metal philosophy. If this band passes the stern test that the majority of fans lay down for bands nowadays, they’re going to have a field day reaping the rewards of their experimental and innovative methods. Bands like this are established to challenge our beliefs and with it, establish new and sacred techniques that are passable as experimentation and a viable option for future bands whom wish to base their music around the influence of this band. Alongside the recent records of Gris and Sombres Forêts, in particular, Skagos’ debut is a deliberate and forceful record aimed at pushing the boundaries of the scene and seeing how far they can stretch the limitations that supposedly rule the black metal scene. ‘Ást’ is one of those creations you can liken to almost anything but, at the same time, it is unlike anything you have ever heard given its strange mystical aura that wanders in and around the atmospherics like a caged animal, trapped and howling. Brave black metal is not without its faults, but admiration is certainly applied to the sounds of these bands that aim to create a slight twist on old methods in a new age. In years to come, I assume that records like ‘Ást’ will be considered defining moments in the history of the genre. Comparisons have been made to newly enforced acts such as Altar of Plagues and well established bands like Wolves in the Throne Room, but Skagos are an entity all to themselves. ‘Ást’ takes smidges of folk inspired ramblings by late-and-great black metal acts like Ulver and simultaneously merges them with the acquired taste of atmospheric, nature inspired bands like Wolves in the Throne Room. This record uses a number of varied techniques to assemble the messages of the lyrical themes from words to glorified sounds and despite small hindrances, such as the questionable vocals, the conclusions come together like the perfection of the transition from night to day, or day to night as the sunset, or sunrise lights up the sky with an array of beautiful colours and reflective cloud patterns. The beauty of such a natural occurrence can be likened to the instrumentation on this piece as moody acoustics are followed by even moodier tremolo based riffs. The production, whilst allowing the guitars to exist as a hollow emotional form when played at a fast, repetitive rate, are arms of fog, which wrap their dense and moist atmospherics around us like a gentle, but passionate hug filled with both anger and warmth. The subtle folk elements provide the said warmth, and our old friend, the black metal maestro provides us with a bleak outlook as the repetition sets in and harsh, distant tones close in on us like an oncoming storm of emotions. My main problem is with the vocals. Compared to vocalists like Annatar, or Icare, Hawes and Symons don’t stand up well, but in terms of the record, they exist in an acceptable form resembling the Wolves in the Throne Room vocalist on ‘Two Hunters’ down to the last note. The harsh dissonance of the rasps suit’s the style, but the vocals aren’t as impacting as one would hope, especially in conjuration with the impacting instrumentation with which my laptop struggles to contain from spilling over and into my world. This emotional record is superb as an experimental entity. It flitters between influences and keeps things fresh, despite relying on elements of instrumentation like repetition on occasions. The Wolves in the Throne Room comparison is bound to throw some people off and cause them to neglect this piece, but for those of you who do allow this into your world, you probably won’t regret it. One of the best from 2009. Notable highlights include the immense ‘Caliginosity’ and ‘The Drums Pound Every Night in a Glorious Celebration of Life’. |
| Perfection. - 100% |
| Written by Sharkbait
on April 2nd, 2009
|
| In days when metal is easier to make than chocolate chip cookies, and when music in general is getting far worse each day, I have little hope for the future of metal. But, my opinion has quickly changed since the start of the year. Shortly before the calendar change, Skagos released a split with Tomhet which quickly sparked my interest in them. Himmelszelt was a fine piece of music, so I was eager to listen to Ast when I heard of its completion. I wasn’t sure if it would be able to top the brilliance that came out of my stereo as I first listened to the split. Ast wasn’t a let down at all. In fact, I was speechless after my first listen. The album starts off with Colossal Spell, which is a drone track that sets a solid foundation for what’s to come. The next song hits hard with melody which breaks off into an epic block that leaves the listener in a trance. Each song thereafter combines acoustic and electric guitar quite well. What also makes this album so special is that they bring back riffs from earlier tracks. The fourth track starts off very similar to Colossal Spell. Out from the filthy sludge fades in some beautifully composed acoustic guitars, with violin placed nicely on top. The main riff and idea in this song is the same as the ending riff in “The Drums Pound Every Night in a Glorious Celebration of Life”. It makes me feel like I’m listening to one long song, if I listen to Ast from start to end. Additionally, it’s refreshing to hear real drums! Too many bands use machines. I’m even guilty of this in my own projects. They aren’t just drums either; they’re very well produced and performed. The range in play is very surprising, taking the genre into consideration. The sound quality of Ast is great. Isaac and Ray worked very hard producing this. It’s superior to most home-recordings. My favorite song on Ast is the closing one titled “A Night That Ends, As All Nights End, When the Sun Rises”. Ray and Isaac bring back the use of skin drums, as they did on Himmelszelt. They’re put behind an angelic formation of chords. By the time drums come in, there are three layers of guitar. All three are perfectly matched together. The harmony between them creates a very emotional atmosphere. It’s a song that one can really self-reflect during. I can’t help but rethink my life while listening to it. I feel nostalgia, depression, anxiety…and by the end, I feel at ease and consoled. There aren’t many songs that can make me feel this range of emotion. It’s definitely the best song on Ast. In closing, the experience in listening to the album in full is breathtaking. It pulls out emotions that very few albums and bands manage to do, especially in this day in age. I can say with confidence that this will be the best release of 2009. I highly recommend you purchase it. |