Hel

Coming from the Faroe Islands, from the town of Tórshavn,TYR is not the band that needs recommendations. They were formed in January of 1998, while the former members were living in Copenhagen. “Hel” is the band’s 8th full length album and, once again, they deliver high quality Progressive/Folk Metal. Progressive for the musical part and Folk or Pagan if you like, for the lyrical part.

Going into the album, we can see that it is solid, very well played and with a nice and polished production, 3 aspects that this band is constantly giving us. The album contains 13 tracks. I know that some of you may find 13 tracks too much for a single album. It is a fact that album with 7-10 tracks, are easier to listen to, but here we have songs that are very easy to listen and this is coming from me. I tend to run away when I listen the word progressive (except for PSYCHOTIC WALTZ, SHADOW GALLERY and of course TYR). Moreover, I can easily say that they flirt a lot with Power Metal, which makes perfectly sense as Progressive and Power are two genres that fit very well together, especially when we have the right recipe, which in TYR’s case, we do.

As a trivia info, it is worth mentioning that TYR became famous in their homeland, when they participated in the Prix Føroyar contest, in 2001. They played the song “Ormurin Langi”, which made its way into the CD compilation created for the contest. This song’s live version became the biggest hit ever created in the Faroe Islands and one year later, it became a hit also in Iceland, which paved the band’s way for this country also.

I will not bother you any more. Once again, the band gave us a high quality album, which will make the 1 hour and 9 minutes listening a pleasure and a bit trippy if I may say so. Just close your eyes and travel to the Norwegian mountains, fjords and ancient battles.

Originally written for and published by The Gallery web magazine: https://www.thegallery.gr/en/tyr-hel-2/

It took Faroese heavy metal band Týr five and a half years to release a follow-up to critically acclaimed predecessor Valkyrja. This might have been due to extended touring activities, two important line-up changes on drums and guitars and the fact that the group got unfairly boycotted by extremist environmentalists who attacked the lead singer for honouring his cultural heritage, exposing themselves as closed-minded radicals. The quartet's eight studio record Hel was worth the wait though and is one of the band's greatest hours.

The bigger picture of this release is truly convincing. This starts with the atmospheric, detailed and diversified cover artwork, continues with the elegant booklet, can be perceived in the organic production that enables each instrument to shine, goes along with the creative top quality songwriting and ends with the fact that fans get a generous thirteen songs with a whopping length of seventy minutes after so many years of silence. Some critics claim that the release offers quantity over quality but I have to disagree. The record starts and ends on extremely strong notes and even though the middle section doesn't keep the momentum of excellence, it's still very potent and keeps the band's trademarks going on an entertaining level.

Speaking of the band's trademarks, this album offers everything the band has stood for in the past but still manages to push the boundaries. Epic doom metal passages meet melodic heavy metal stylistics with occasional power and folk metal influences that enhance the atmosphere. The heavy riffs are played in a technically impressive and at times progressive way. The bass guitar is even more domineering than in the past and doesn't only follow the drum patterns or guitar rhythms but has its shining moments. The drum play is accurate and versatile as it easily shifts from slower parts over mid-paced rhythms to fast sections. The epic and melodic vocals are still one of a kind but sound even more diverisfied than on past efforts as the singer even experiments with vibrant death metal growls.

Mentioning the numerous great songs would take way too much time. Let's just focus on the excellent opening trio that exemplifies what this album is all about. The opener ''Gates of Hel'' might be the best song the band has written so far in its career. It's atmospheric, creative and epic as it finds the right balance between progressive instrumental parts and memorable vocal lines. The vocals vary from melodic parts resembling chorals to gritty death metal growls that blend in perfectly. The guitar work is energetic and versatile. The drum play is dynamic and playful. The song features an extended bass guitar solo which is absolutely stunning. I wish more bands would go for bass guitar solos instead of classic electric guitar solos. I can't stop listening to this vibrant opener and overuse the repeat button despite the quality of the material that follows. Among excellent songs, this one here is perfect.

Up next, ''All Heroes Fall'' quickens up the pace and is one of the band's heaviest songs on the record, showcasing how much the band has evolved from its doom metal roots towards fast-paced heavy metal flirting with power and thrash metal elements. The chorus on the other side is simply beautiful and haunting and particularly memorable. If bands still actively released singles to support their new records, this song would be the perfect choice. As a collector of physical records, I must admit that I'm somewhat missing these days.

Third track ''Ragnars kvæði'' is one of only two songs sung in Faroese. As quality matters over quantity however, this song is particularly great as the use of Faroese lyrics amplifies the longing atmosphere of the track. The song also rekindles with the group's cultural heritage and flirts with folk metal stylistics that transport you back in time and to a place that is now known as Northern Europe. The song has a cinematic vibe without ever being pretentious and would make for a welcome addition to any soundtrack involving Faroese or Scandinavian culture.

In the end, Týr is back with a bang almost six years after its previous studio record as Hel qualifies as one of the band's strongest records ever. The band has never released a weak record in the first place but I would put this output in third position after Eric the Red and Ragnarok. If you like vibrant heavy metal with progressive and folkloristic elements that doesn't sound old-fashioned despite its cultural roots, you might have already found your album of the year candidate right here.

Viking metallers Týr stand out among their peers for a variety of reasons. Not only are they the only well-known metal band from the otherwise desolate Faroe Islands, but they are totally inimitable. Literally, no other band sounds like them. From humble beginnings as a bizarre amalgamation of folk, prog and doom metal; to the multi-faceted pseudo-power metal machine they are today - Heri Joensen and co. truly are unique in the metal community. One thing is clear throughout all their records: you can absolutely tell when you're listening to a Týr album. Their weird-ass guitar harmonies and silky smooth vocals combined with a devotion to traditional Faroese folk music and a penchant for progressive songwriting are what make this band so instantly recognizable. What makes 2019's Hel so special is that it almost wasn't instantly recognizable. Yet this may be the quartet's best album to date.

Hel is a colossal effort. Ambitious and huge in scope, with 13 full-length tracks all between 4 and 8 minutes long. This will take patience and repeated listens, but it is so rewarding when you become familiar with its enormous framework. The song titles, album title and fantastic artwork (see that giant snake in the background? Took me a while too!) all betray the inherent darkness of this LP. After all, Hel is the underworld of Norse mythology. But after a minute or so into the opening semi-title-track "Gates Of Hel", I had to stop the disc and verify it really was Týr I was listening to. Not only is there a pervading atmosphere of dread and some pummeling riffage, but...harsh vocals! And this is no guest appearance, those hellish roars belong to Heri himself. I actually did a double-take because, not only is that the last thing I expected from this band, but they sound fantastic! The only problem? Not enough of them.

Speaking of pummelling riffs previously unheard of in Týr's catalogue: check out the opening to "Empire Of The North" and the chugging that happens underneath the verses. That's some pounding stuff! The massive production quality is probably the best the band have had to date and it inflates the sound to epic proportions. This only enhances the many layers their music has anyway. It really is a 'big' album in the true sense of the word. Song structures are expansive, vocals are frequently layered, and guitar solos are always extended. Solo sections are hardly ever a focal point for me, but Hel's solos are always multi-sectioned, incredibly well composed and utterly resplendent with virtuosic talent. The 1:44 mark in "All Heroes Fall" is the perfect example. Some seriously athletic fretwork, mind-blowing sweeps, and a crunchy riff to underly it all. Possibly my favourite solo section in recent memory. The same can almost be said for the furious "Fire & Flame" too.

The Faroe Islanders' flirtations with power metal since 2009 have resulted in a style which briefly favoured catchiness over substance. On Hel, the guys seem to have found the perfect balance between the speedy infectiousness of By The Light Of The Northern Star and the progressive oddities of the groundbreaking Eric The Red. These are memorable melodies with grandiose refrains, all set to more expansive structures. I cannot exaggerate just how great some of these choruses are. Written so as not to treat the listener as if they're stupid. The triumphant folk melodies of "King Of Time" and "Far From The Worries Of The World" are two such examples, but also the wonderfully mellow "Downhill Drunk" which bears no resemblance to the clumsiness of its title, and the furious-yet-smooth tribute to the guardian dog in "Garmr".

I won't say that any track feels like it belongs on *insert previous album here*, because every single one of these gems is unique to the dark world of Hel; completely absorbed in the doom-laden atmosphere, yet remaining strangely optimistic. It's a peculiar vibe, but utterly irresistible once it engulfs you. Of course, I cannot top off a review of a Týr album without mentioning Heri Joensen's incredible vocal performance. In the gap between Valkyrja and this record, he's obtained a peculiar gruffness which pervades much of the LP. It's a wonderful new timbre but doesn't interfere with his usual smoothness. He really shines on the opening track; jumping between all sorts of styles and a massive range of pitch. He also has an insanely eloquent grasp of the English language, turning possible lyrical cringe into majestic quotations. These are some of Týr's best lyrics and turns of phrase ever - most notably, the chorus to the gorgeous "Sunset Shore".

I really cannot praise this album enough. After about 15 listens from start to finish, the CD has quickly made it to the top of my 2019 pile. Hel is the gift that keeps giving. Not an easy listen, I'll grant you. One simply can't put it on in the background and expect to absorb everything. It's a demanding journey which requires full attention. But if you're tapped into that mythological darkness that I find so appealing, once those eerie opening clean guitars haunt your ears, you're in for one hell of a voyage. An excursion through the underworld. Bravo, Týr! You've been one of my top 10 favourite bands for years, but you've really outdone yourselves on this one. Utterly spellbinding.

"Reappear, wintertime.
Lore of the lost, beacons of fire.
Wretched we, borne in rhyme.
Far from the worries of the world..."

Haven’t kept up with Tyr too much in recent years. I think the last one I heard was Lay of Thrym, which I remember being seriously underwhelming and generic, and could’ve just been any random power metal band if you took out the distinctive vocals. This new one, Hel, shows me that I was absolutely correct back then: Tyr is basically out of ideas and has become your generic Festival Metal Band™. It’s pretty sad.

I mean I’m not gonna pretend I still play Eric the Red all the time, but that was a seriously ambitious and different sound for a metal band, pulling in weird prog and folk influences in a way that sounded fresh. Without dwelling too much on the differences between then and now, this album is a collection of riffs and leads you can hear on any power metal album since Somewhere In Time or Keeper of the Seven Keys, and the songs are put together in a rote, unchallenging way, never getting truly aggressive or launching into anything really hooky. It’s literally the exact same type of stuff you could hear on dozens of other albums any given year. Just utterly stock, faceless stuff. The riffs and verses are all just filler until the choruses come on – it’s lazy, banal writing.

Speaking of the choruses, they’re all generic shout-alongs, with singer Heri Joensen having lost the pristine, crystal-clear quality his vocals once had. Oh good, he sounds like any other gravelly, gritty power metal singer now? Just what we needed. He keeps the same tone and pitch through all this, layering over himself in a way that becomes actively irritating after over an hour of this shit. It doesn’t help that all the melodies basically sound the same. It’s 70 minutes of unchanging, tonally homogenous metal. It’s actually kind of mind-numbing by the last few songs.

No flavor, no personality, no fire. It’s music tailor-made for guys with long hair and sweaty pits to drink $9 domestic beer to at festivals while throwing the horns. There’s nothing wrong with that behavior per se, but I’d just rather have music with even one good quality, or that didn’t sound like it came off an assembly line. I’m listening to Eric the Red as I write this and it’s amazing how this band has completely given up anything interesting about their music. I know that was a long time ago and it’s not a fair comparison to base a whole review on, but seriously, it’s like if a master chef just decided to quit and make Hungry Man microwave dinners for the rest of his life.

Viking Metal is like a single, middle-aged, bearded, scruffy uncle in the Metal Family. He is present in many of the end-of-the-year gatherings (Album of the Year lists and all), he has some offerings, and although he brings something usually pleasant to the table, customarily he is not taken seriously and time and again goes underappreciated; every once in a while some younger members of the family wish to imitate him and then they grow out of it. He is mildly respected, and from time to time included in decision-making processes; but overall, he is just there and when the year is over, he leaves no memory behind.

But on some rare occasions, this oddly charming uncle brings his hammer down onto the table and smashes it into smithereens; projecting splinters in the eyes of the other family members, elders and youngsters alike, and states his presence with a berserker’s mighty roar, putting an album up to the light of the skies. Most stalwart metalheads are familiar with this habit of this uncle, some even look forward to it (awaiting a new release by Amon Amarth or Ensiferum, among others); however, every so often he strokes his magic palm upon a cloth and from under it appears a gem. This year it was Týr’s eighth studio album, Hel.

Týr is by no means a new name in the genre; having firmly and deeply carved their foothold within the body of metal, they made a name for themselves in the 2000s with Land (2008) and more specifically with By the Light of the Northern Star (2009), which was my introductory album to them. They released Valkyrja in 2013 and six years after this album (which is a rather large gap, considering how frequently they used to release albums in the 2000s), they bestowed upon us the said magical gem of the uncle: Hel.

This outing incorporates all the required elements of success to offer a diverse, technically rich, yet accessible (in the most positive sense of the word) experience to the listener. Diverse in terms of musicianship, singing styles, song structures, production, and even the language. Despite the fact that they used a traditional metal line-up: drums, 2 guitars, and a bass, they have managed to produce a wide-ranging, aurally ample sound which leaves no empty space and yet keeps, or rather augments, its epic nature. In addition to that, the album is layered so expertly that one might think they are a 10-man band, instead of only 4. Heri Joensen’s voice is variant and strong all through the album, from clean vocals on Sunset Shore to forceful screams at the end of Empire of the North and everything in between. The sing-along choruses are another aspect which generates said epic and multi-facetted sound of the album. They are fit and in place – they don’t stand awkwardly out from the rest of the song.

The whole album has preserved Týr’s trademark sound which is a progressive-infused Viking Metal. They have frequent rhythm changes, tempo shifts and drumming is the backbone to all this. Admittedly, it’s the rhythm guitar that comes on top of the others to create this effect, but it is the Hungarian Tadeusz Rieckmann who actually rides this chariot forwards. However, what takes the cake above all, in the affirmative sense of the expression, is actually the impressive bass work by Gunnar Thomsen. Unlike the plethora of albums in metal which you have dug into for miles to find traces of the bass, here it is interwoven into the fabric of the music, shining here and there to mesmerize the ears of the listeners. As an instance, you may consider the bass solo on the opening track, Gates of Hel, or the bass and clean guitar duo on intros of both King of Time and Álvur Kongur.

Besides, and maybe beyond, this progressiveness, they have injected traditional and folk touches here and there, traditional drums on Ragnars Kvæði is one example. Nevertheless, they haven’t relied on any folk instrument on this album; they have, though, utilized folk melodies (e.g. Downhill Drunk is about ale and mead- what else did you expect based on the title?). I assume it goes without saying that most of their lyrics are about Nordic folklore, raiding and pillaging lands, dying on the battlefield, mythological figures (even the album title is a reference to one: Hel - the goddess of the underworld, daughter of the trickster god Loki), sailing and other similar motifs. But be not mistaken, these familiar topics are wielded and woven so skillfully that they are of literary value (the words of Gates of Hel have this characteristic). What’s more is that two songs (Ragnars Kvæði and Álvur Kongur) are sung in their native tongue.

Another remarkable aspect of this release is surely the exceptional execution of solos all through it. Almost all the songs had two guitar solos (or even more!) and they do not feel force-fed upon the music. They sit gracefully juxtaposing the other musical components and besides showcasing technical ability, they reflect musical understanding and mastery of Terji Skibenæs and Heri Joensen. This album is beyond the shadow of any doubt, among the top releases not only of Faroe Islands or even the whole Scandinavia, but also of the entire metal scene this year, making our chunky but charming uncle tremendously gratified.

Highlights: Songs of War - Gates of Hel – Against the Gods - Garmr - King of Time - All Heroes Fall - Empire of the North - Fire and Flame

Rating:
Lyrics: 9.0
Artwork: 9.0
Musicianship: 9.0
Vocals: 9.0
Overall: 9.0

Right off the bat, Tyr’s first album since 2013’s Valkyrja starts with one of the band’s heaviest songs to date. While the chorus on “Gates of Hel” is the sort of power metal upliftment one would expect from these Faroese raiders, the verses and instrumental segments suggest more extreme influence with their driving guitars, blasting drums, and growled vocals. It sounds more like Amon Amarth than Tyr at times yet manages to not sound out of place with everything to follow.

Going along with that, the musicianship on Hel is some of the band’s most involved in over a decade. The guitar tone is noticeably heavier, showcasing more bottom end with a fierier character compared to the usual icy feel, and the leads are more intricate. The bass is infinitely more prominent than it has ever been with numerous tracks bursting with intrusive undercurrents. The band has stated that the writing process was much more collaborative this time around and it truly shows.

But with thirteen songs totaling to a near seventy-minute runtime, Hel is admittedly rather overstuffed. Tyr is certainly no stranger to longer albums, but such lengths were better suited for the slower, more epic style of Eric the Red or Ragnarok than the more straightforward fast-paced metal of their most recent outings. Fortunately, there aren’t any outright weak tracks on here so culling tracks would largely be a matter of preference.

And with that in mind, there are pretty great tracks on here. The singles were well chosen as the heavier tinges on “Sunset Shore” give it some extra oomph not seen on any of Tyr’s other ballads while “Fire and Flame” is one of the album’s catchiest speedsters. “Far from the Worries of the World” may be the album’s strongest track thanks to its particularly triumphant refrains and I can dig the subtler percussive hooks on “Songs of War.”

As much as Hel can feel more like Amon Amarth with clean vocals than an “actual” Tyr album, it may be their strongest effort since 2009’s By the Light of the Northern Star. It’s a little sad to see less of the band’s folk tendencies but the boost in heaviness and heightened band chemistry more than make up for it. Seeing how the band has hinted that their next album could completely move away from their Norse aesthetic, it’ll be quite interesting to see how things progress in the future.

Highlights:
“Garmr”
“Sunset Shore”
“Far from the Worries of the World”
“Fire and Flame”
“Songs of War”

Originally published at http://psychicshorts.blogspot.com

The exploits, or sagas of the Viking age have been a fairly frequent topic of lyrical emulation in the metal world for well over three decades, owing a great deal to the pioneering efforts of Manowar and Bathory, which laid the groundwork for the present folk and Viking craze within the European scene and beyond. Though much of the focus has been centered upon various bands that have sprung forth from the Scandinavian Peninsula in the past 20 years of late, a formidable outfit from a former principality of Denmark turned nation-state known as The Faroe Islands has continually raised the stakes as far as what actually constitutes folk metal, bringing forth a highly unique and progressive take on the sub-genre that has yet to be replicated. Adopting the name of the one-armed Norse god, Tyr offers up a musically ambitious and technical take on things arguably more befitting a many-handed member of the Hindu pantheon, culminating in a fairly consistent run since their inception at the turn of the millennium.

Though their 8th studio offering in their 20 year career, Hel is an album that has been a long time coming, and chases six years of studio silence in a back catalog that scarcely sees a gap of more than three between releases. A likely culprit in this may be the far more rigorous touring demands put on bands signed to Metal Blade Records, though following their highly successful previous endeavor Valkyrja they saw a shakeup in their band membership with the departure of long time guitarist Terji Skibenaes and the persistent absence of a permanent drummer since co-founding member Kari Streymoy exited just prior to the release of said previous album. Consequently, one would be remiss to assume that some changes would not be in order given the acquisition of a new guitarist and their recently acquired drummer Tadeusz Rieckmann having his first say in the band’s studio efforts, but if there is any way to really sum up the direction of this latest LP, it is a simultaneous reassertion of the fast-paced and fun character that has defined their sound since By The Light Of The Northern Star alongside a return to the longer, epic character of what immediately preceded said album.

For those not initiated into the past exploits of this Faroese metal institution, their formative years were marked by a heavily ambitious, arguably overly so in some instances, songwriting style that resulted in a long and drawn out album normally reserved for the likes of Dream Theater. Along for the ride was a generally impact-based mixture of thrashing riff work and mid-paced to fast drumming that could have been likened to “Metallica does folk metal”. Feeding into this sonic comparison with said pioneer of Bay Area thrash metal is the gruff-driven, yet smooth pipes of front man Heri Joensen, whom is often compared to the similarly Hetfield-oriented vocal work occasionally heard out of the likes of Mathias Nygard (Turisas) and Jari Maenpaa (Wintersun/Ensiferum). Hel marks a return to the epic grandeur and long-winded character of yesteryear, while at the same time maintaining the almost power metal-like speed and accessibility that has been a key staple of this outfit’s sound for the past 10 years, coming off as a triumphant middle ground between the sound of Valkyrja and Land respectively.

If there is one thing that truly defines what this band accomplishes when at their best, it is an uncanny ability to take the bare bones arrangement of guitar, bass and drums, and turn it into an epic foray rivaling bands like Equilibrium and Turisas that utilize grand symphonic bombast to augment their respective sounds. Though the layered choirs offered up by Joensen on massive anthems like “Empire Of The North” and “Against The Gods” account for the massiveness of their sound, the battery of the rhythm section and the ever-evolving riff work driving things helps Tyr establish an even more impressive result. To further bolster an already towering display of technique and form, newcomer and shredder Atilla Voros helps his new band mates up the ante something fierce, as displayed during the solo passages heard on “Songs Of War” and “Far From The Worries Of The World”. But the absolute zenith of this band’s exploitation of potential occurs when they fully embrace their progressive metal side, as showcased during the creepy bass and clean guitar intro turned metallic celebration of “Alvur Kongir” and the Manowar meets Ensiferum inspired epic opener “Gates Of Hel”.

It may come off as a tad presumptive, but this is arguably the best offering out of an extensive repertoire of solid albums by a band that has all but single-handedly (no pun intended) put The Faroe Islands on the metal map. Though it clocks in at a good 20 minutes more than the average length of their three most recently and well-received albums to date (discounting the cover songs that were often included), it still maintains the pacing and effective use of hooks that made Valkyrja and The Lay Of Thyrm both technically extravagant yet also accessible to those who are used to the more concise and compact character of a mainline folk metal band. One can only hope that the next album will not take as long as this one to see the light of day, but if this hybrid Faroese and Hungarian incarnation of Tyr can manage to stick together for as long as the previous one did, grander adventures into the sagas of Asgard and beyond may yet be on the horizon.

Originally written for Sonic Perspectives (www.sonicperspectives.com) on March 7th, 2019.