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Finnish supremacy - 85%

JJM1, January 28th, 2014

Formed around 2002 by sole member BlackGoat Gravedesecrator (AKA Jaakko), Goatmoon issued eight demos during the next two years before releasing the debut, 'Death Before Dishonour' in late '04. With lyrics centered around hatred, anti-religion, Finnish nationalism and white supremacy, BlackGoat is something of a controversial figure, though he personally rejects the NS tag because his words are not centered around Nazi propaganda. I guess that just means he dislikes brown people a lot. Regardless of subject matter, Goatmoon is absolute class as far as Finnish black metal is concerned and I've been absolutely floored since picking up 'Varjot' a few months ago.

Enlisting guest help to provide drums, bass, keyboards, additional guitar, clean vocals and even brief flute and tin whistle use, 'Varjot' may very well be his finest recording to date, although this is the only recording I've heard from the band so far so I could be slightly misinformed. As I understand it, Goatmoon was considerably rawer in their early days, though here the recording is rather polished, while still maintaining the hissing guitar tone the genre is known for. Musically the band offers up mid-paced to speedy black metal compositions that remind of Satanic Warmaster, though with a strong melodic presence intermingled with vibrant folk metal chord progressions makes for a mostly original sound, but comparisons to some of the newer Absurd recordings or stuff like Stormheit could be made for sure.

'Storming Through White Light' opens with sounds of thunderous storm roars in the background alongside a quite pleasing acoustic guitar passage, when just a little over the two minute mark the clouds burst and the blackened fury is unleashed. Immediately the listener is greeted with a catchy and melodic lead riff and BlackGoat's raspy screams, the song gradually builds in dominance, occasionally featuring flute in the background as it reaches its epic conclusion with a mighty and totally headbangable guitar solo that just can't be beat. 'Noidan verestä männikkö herää' & 'Quest For The Goat' tend to be more straightforward, hard hitting and goddamn cold in their delivery, almost bringing to mind Horna at times, while 'Varjo Valolta Suojelee' is a slower instrumental of quite simply epic proportions. The remaining four songs are equally great too, not a wasted moment and not a thing out of line as these lads just continue to crush.

Notably the drum work is quite well performed with almost constant footwork and more than enough interesting rolls and fills along the way, while the bass is also audible during some of the calmer parts of the songs and has its own moments that truly standout and just make the album soar even more. Figuring in more than enough appealing riffs, leads and great solos as well a totally strong and menacing vocal performance and you've got a beast of an album on your hands here.

As mentioned earlier, 'Varjot' is my first contact with Goatmoon, but I eagerly look forward to checking out BlackGoat Gravedesecrator's other creations very soon.

Originally wrote for, Lunar Hypnosis:

Varjot - 87%

todesengel89, October 21st, 2011

Goatmoon this year releases their third album, Varjot, 4 years after their previous full length album, Finnish Steel Storm. While Goatmoon's debut album, Death Before Dishonour failed to really capture my attention due to the extremely raw style, Finnish Steel Storm presented more polished performance, hence giving me certain high hopes for Varjot.

The acoustic guitar instrumental intro on Storming Through White Light lets listeners and fans of Goatmoon know what to expect, with the roar of thunder in the background and the folk-metal like chord-progression, and this is instantly proven to be so once the album begins proper, as folk metal references are present throughout the album, continuing on the path that was already set with Finnish Steel Storm both in terms of musical direction and the musicianship of mastermind BlackGoat Gravedesecrator on the album.

One of the first thing that one notices is the prominent improvement in the performance of the individual instruments, in particular the drumming on the album. While drumming on the band's debut album Death Before Dishonour was primitive and almost-amateurish and those on Finnish Steel Storm showed much improvement, it is on Varjot where it really shines, with not only quick and constant footwork, but one can tell that every roll that is executed is well-thought out and helps in further bringing out the enjoyment of the album. Awkward moments are also few, such as on the track Noidan verestä männikkö herää, where the snare-drum goes almost out-of-sync with the rest of the instruments.

As already mentioned, the folk influences are very clear and right from the opening track, Storming Through White Light, this is obvious as the guitar takes a backseat, taking the role of a rhythmic instrument, with a lead folk-inspired line being played above the chaos beneath instead. However, this is not to say that the guitars are neglected as, unlike previous releases, BlackGoat has focussed more on the individual instruments this time. For example, there are guitar-solos that display the capabilities of BlackGoat towards the end tracks like Storming Through White Light and Noidan verestä männikkö herää, worthy enough to be on neo-classical albums instead of a black metal album with the shred-friendly progression and fast tapping. Instruments such as the piano and the wind instrument such as on Abomination of Winter are also present, and they help to provide a unique and somewhat soothing touch to the cold and bleak music.

Although the folk metal influences are particularly strong on the album, there are still moments where it is pure, unadulterated Finnish-styled black metal, with many moments that remind the listener of fellow Finnish such as Satanic Warmaster and Horna, with the cold and somewhat desolate atmosphere in the music, such as on Quest for the Goat, sounding like it could come off an album like Satanic Warmaster's Nachzehrer album. Furthermore, the bass on the album at times provide an almost rock 'n' roll touch, such as on the moment when the guitars go quiet on Quest for the Goat and the bass becomes clearly audible. There are also times on the album where non-extreme metal references are brought to mind, such as the starting riffs of Varjo Valolta Suojelee, sounding like it came off Dream Theater's This Dying Soul, only executed in a folk metal style.

BlackGoat displays his versatility on his vocals as well throughout the album, mostly sounding like a cross between Sargeist's Hoath and Satanic Tyrant Werewolf, but on tracks like Varjo Valolta Suojelee, there are shouts that put a certain heroic feel into the music. In addition, clean vocals are also present on Valley of Shadows. Though black metal and clean vocals usually don't go well (especially on such raw styles of black metal), on Valley of Shadows the clean vocals are what brings out and further enforces the folk metal feel of the song.

Varjot is an extremely polished effort (in terms of musicianship and songwriting) by Goatmoon, and this album is certainly representative Finnish black metal and is recommended for fans of other Finnish bands such as the aforementioned Satanic Warmaster, Horna and the likes who are looking for Finnish-styled black metal with a touch of folk and pagan.


Welcome to the Pinnacle of Raw, Pagan BM 2011 AD - 100%

TheAntagonist, September 21st, 2011

After stumbling upon Goatmoon’s new album "Varjot" on a whim I am still contemplating… where the hell did this album come from? Blasting away in Finland for all those years in relative obscurity, no doubt with the distinct title of being kvlt surely intact–– most of Goatmoon’s previous releases never held much sway over me. This album, on the other hand, is an all together different beast that should be lighting up soon enough on every black metaler’s radar.

Varjot, which means shadows, contains raw, black metal with some pagan/folk leanings, executed in a Satanic Warmaster like style with better production value. The album opens with a two minute folky acoustic passage and before you know it your “Storming Through the White Light”, a scorching, toe-tapping metal masterpiece. Keyboards are employed throughout the album, but sparingly enough to not overshadow the intensity or integrity of this endeavor.

Blackgoat Gravedesecrator’s vocals are extremely menacing and vicious; conveying the perfect amount of emotional distress to sound convincing, while not overdoing it. The influence of the German metal band Absurd is abundantly evident, particularly on the song “Wolven Empress”. The pagan/folk metal connection can be observed through the keyboard arrangements found on the song “Abomination of Winter”. It is safe to say that the listener will be hard pressed to find a standout track because this is clearly an album that needs to be experienced from start to finish.

All in all "Varjot" is a solid release that should receive it’s fair share of praise. I am really at a loss to find any discernible flaws with this album. One thing to keep in mind is that it is put together in its entirety by one entity alone. This album is the true embodiment of great black metal and should make it on to quite a few critic’s lists for best releases of 2011.

Originally written for