Register Forgot login?

© 2002-2022
Encyclopaedia Metallum

Best viewed
without Internet Explorer,
in 1280 x 960 resolution
or higher.

Privacy Policy

Ueldes > Storm Borrower > Reviews
Ueldes - Storm Borrower

Dark Aesthetics from the Cloudy Slovenian Forests - 84%

hardalbumreview, September 4th, 2018

For a guy who isn’t the most headstrong fan of black metal, I can say this atmospheric / ambient black metal output by the Slovenian mastermind, Tilen Šimon, was a dark, tragic, and in parts lengthy, journey through desolation and agonizing sorrow within murkiest realms of nature. And that is most definitely a huge plus.

The opening track (The Songless Forest) kicks off on acoustic guitar and on the background of atmospheric orchestration, bringing to mind some most touching atmospheric doom metal melodies of bands such as Agalloch and Clouds (or many other bands, depending on your personal experience). The song then soars up to a mid-tempo riff and climaxes with an epic wholesome fierce black metal eruption around the mid-song; this mood takes you on and drags you to the cloudy vales of deepest pains and leaves you safe and sound on the ground again at the end, though you still carry the scars on your soul.

Then comes the title track, of which you rightfully have higher expectations. Just like the previous song, we have an ambient opening to this song too. The guitar work on this song is a tad more melodic than the previous work. Vocals are then added to intensify the wincing atmosphere of the song. And just like other tracks, the growling vocals nail it where it should. We are presented with quality black metal singing which sits elegantly on the setting of instruments like a jewel upon a crown … of thorns and spikes. And the height then meets a sorrowful low to ease your aching soul only to lift it up once more and leave you in a state of awe.

My favorite track on the album is neither of the above, but the third track (Where Rivers Turn to Ashes). A 12’:07” voyage through the heart of nature, flying among the clouds, standing amidst the trees, floating on the calmest oceans, hiking the toughest peaks and rolling down the steepest, grass-covered valleys. You should NOT LISTEN to this song, you should EXPERIENCE it, like a drug-induced trance. You will lose track of time and space. It truly is a transcendental experience.

As if you haven’t taken enough of this celestial gift, the bonus track (Desolation Heir) -yes, a bonus track on an EP- comes along. Primarily in the same vein as the previous works (nothing to complain about, in fact highly appreciated), you extend your welcome for more than 8 minutes and a half. It’s your final chance to savor well-executed musicianship, in all aspects, from drumming to guitars and even vocals and piano (keyboard). Tilen Šimon once again proves his dexterity to handle all sorts of instruments and to push further forward his one man band.

The run time of this EP (including the bonus track) is a bit more than 42 minutes, which equals many other bands’ LPs. It’s a top-shelf album through and through but in some parts, it feels a bit too lengthy and monotonous. There are also a few instances where the piano is played rough and inaptly. What you need to do now is set aside 42 minutes of your time, switch off all the devices that might distract you and bathe in the dark aesthetics of this EP from the cloudy forests of Slovenia.

Epic flowing atmospheric BM fury and sorrow - 80%

NausikaDalazBlindaz, August 6th, 2018

Here Veldes man Tilen Šimon delivers what he does best: epic flowing atmospheric BM of fury, melancholy and longing with catchy pop melodies. "The Songless Forest" sets the pace and the tone for the rest of the EP to follow: majestic riffs performed on noisy raw BM guitars over and over, crashing repeatedly like waves roaring and rolling over onto a beach, over insanely flippy machine percussion rhythms while piano melodies waltz by without a care in the world, and in the far distance a harsh vocal rages, as if fighting and resisting that ultimate dissolution we all must face one day. The overall atmosphere is of regret and sorrow alternating with fury. It's as if a phantom is ranting and raving against the unfairness of the universe as it slowly and relentlessly crushes the spirit being, yet despite (or because of) that oncoming death the spirit vents its pointless anger all the more intensely.

The title track is a more reflective and subdued track but paradoxically seems the more powerful with slashing guitar surges and biting acid vocals. Later parts of the music can be chunky with riffs peeling off in slabs and clunky piano wandering all over the music while background synthesiser sighs away. (I have the feeling the piano should be a bit more subdued and less clanky here to preserve the sorrowing mood.) On the whole this is a very impressive piece of immersive atmospheric music of sadness and heartfelt yearning for something lost forever. "Where Rivers Turn to Ashes" is an upbeat and happy track (considering its title) with jaunty piano-playing, blasts of scourging BM guitars and equally harsh rasping vocals. I must confess I am no fan of the piano melodies here - they remind me of saccharine Japanese anime films of doomed teenage romances, of the kind directed by Makoto Shinkai - but thankfully they are not the dominant element as the more melodic post-metal guitar takes over and carries the emotion and mood for much of the rest of the track with the BM guitars as a backing chorus. For what it does, the track is rather too drawn out in its last few minutes and some editing could have made it much tighter and forceful, and less sugary in parts.

Bonus track "Desolation Heir", while a pleasant song in itself, adds nothing new and seems a bit muddled at times: it jumps from sad and sorrowful to happy or angry in ways that to this listener don't make much sense. As with "Where Rivers ..." the track runs out of puff after the halfway point and keeps going and going, subjecting listeners to a lot of unnecessary sugar piano tunes.

Without the bonus track, the three-track EP is complete in itself and showcases Veldes' style very well. The piano playing could be better: in some parts of the music it could be much gentler than it is, and the melodies can be very sappy. The rest of the music is very good, especially in the first half of the EP. If Šimon can bottle the inspirations that led him to create a track like "The Songless Forest" and keep that balance for future recordings, Veldes itself will be an inspiration in emotional atmospheric BM.