The album is interesting firstly in that it combines recognisable song structures that hark back to the earlier days of XASTHUR whilst also encompassing new ideas and techniques. For example; I am reminded of early albums such as “Nocturnal Poisoning” as “Portal of Sorrow” features similarly unsettling compositions that take those unexpected paths that makes XASTHUR such compelling and obsessive listening. This is where “All Reflections Drained” was not so successful as despite it being a well-composed and thoroughly listenable release, the sense of character was not so prominent. I remember reading an interview with Malefic years ago about the way in which he composes songs and (if my memory serves correctly); a sequence of notes will be arranged & then re-written or played differently so that they appear to sound “wrong”. I find this notion of songwriting fascinating because it defies convention whilst also challenging the traditional concepts of composing music. This twisting of the song-structures makes for an original sound and those notes that are adapted to sound “wrong” actually result in music that sounds everything but wrong as anyone who supports XASTHUR will know all too well. So, aside these lugubrious and broken melodies, there are also new features added to the XASTHUR formula. Firstly there is the addition of female vocals which add a great deal to the overall atmosphere and effectiveness of the release. Marissa Nadler provides an elegantly sung and ethereal vocal resulting in the album having a truly unearthly and hypnotic effect. Boston singer/song-writer Marissa Nadler has talent in her own right, producing a spine-tingling brand of acoustic Dark Folk for her solo releases; her vocalisations combined with the talents of Malefic therefore work amazingly well. Bands such as WOLVES IN THE THRONE ROOM, UNHOLY, BLOODY PANDA, and ASVA have used beautifully sung female vocals in their music in a similarly convincing manner.

“Portal of Sorrow” is also a more organic and abstracted release. For example; throughout the album there is an almost Neo-Classical approach considering the use of occasional deep and velvety narrations, melancholic piano pieces, subtle experimentation with found sound sounds / sampling, cold ambience and soaring soundscapes in addition to the fuzzy and distorted guitars. At times the tempo of the music is also drastically slowed down and so the music is more depressive, funereal and grand than ever.

In short; Malefic concludes the chapter of XASTHUR with an outstanding album, combining cult signature style and brooding sense of underlying horror with bold new innovations. This release may not be for everyone but is most definitely one for cult followers!

VELNIAS use mature song-writing techniques (border-lining on progressive), making use of many moody acoustic passages and slow, sorrowful riffs that gradually build and shift throughout each track. Although it is possible VELNIAS may appeal to those who follow bands such as ENSLAVED, DRUDKH, AGALLOCH, OPETH, and suchlike, the formation of the songs on offer here actually have more in common with the techniques used by bands such as later ISIS and PELICAN, though VELNIAS offer a more melancholic approach to this style and of course a strong Pagan flavour. The Pagan sensibilities and themes are evident throughout the release, from the roughly performed vocals, to the aesthetics, track titles, band name, warm-sounding guitar and bass and also the unobtrusive samples taken from the natural world. This is basically a risk-free release as you know what should be expected, there is little doubt of this. It would be fair to say that this release is an ideal choice for those who are dedicated and perhaps obsessive followers of the Pagan / Progressive / Folk area of Black Metal as “Sovereign Nocturnal” is a more subtle offering than most in this genre though it is not without intensity, due to this fact the release may also be a good choice for those who follow Post-Rock and are looking for something a little different to their usual choice of music.

Overall “Sovereign Nocturnal” is a very promising and sensitively composed release from VELNIAS, however it is likely their very best output is yet to come (with “Sovereign Nocturnal” being their first official release following a demo recording). The band have well-established and strong ideas when it comes to the inspiration behind their work and so this focused attitude will no doubt continue to yield interesting and hypnotic results. VELNIAS are certainly what may be considered an “outsider” Black Metal band along with acts such as the arty and serene WOLVES IN THE THRONE ROOM who also base their works on nature. To sum it up; “Sovereign Nocturnal” is a superb choice for environmentalists, experimental Metallers and modern-day heathens.

1. Warning – Footsteps
   The vocals and lyrics on this wrench at the heart. It’s also a fine demonstration of how to use reverb on toms! A great song and more than a decent opener I thought. From the album ‘Watching From A Distance’.
2. Negura Bunget – Tesarul De Lumini / Weaver of Lights
   This is the only Romanian band I know. We were booked to play an all-dayer with them last year in Manchester, then for some unfounded political reasons they were banned from playing, very disappointing! From the ‘Om’ album.
3. Siege – Cold War
   Recorded in 1984, Siege don’t let up on this track, later on in the ‘Drop Dead’ album they break out the sax!
4. Witchcraft – No Angel Or Demon
   Arrrrrrrach introduced me to these Swedes a few years back. This song in particular is an absolute classic to me, which of course, is what Witchcraft were aiming for. They played it live, note perfect, in my hometown last year. This is from the self-titled debut full length.
5. Taint – I Fulfil I
   Back as a teenager watching their gigs at the Coach House underground basement, when they too were teenagers, I learned to appreciate drums, previously I’d been hooked on guitar. This track reminds me of a summer spent on and around the Llangennith Beach, in the fields beyond the sand dunes listening to this on repeat. From the 2002 Taint / B.E.R split CD.
   
6. Ahab – The Sermon
   German Nautik Funeral Doom! Their album ‘The Call Of The Wretched Sea’ being inspired by Moby Dick, this track features Herman Melville’s writing as lyrics.
7. Converge – Grim Heart / Black Rose
   Jim (Taint) got me into Converge. I had a bet running with a friend that they wouldn’t play this live once when we went to see them in Newport, they didn’t play it, and I won the bet, bitter sweet! This is from their ‘no heroes’ record.
8. Fen – Bereft
   Fen’s new album ‘The Malediction Fields’ is very good! We cross paths playing around the UK underground circuit from time to time.
9. Gene Krupa – Bugle Call Rag
   My friend Ray (Yohawks, Death Of Chapman Baxter) originally turned me onto Gene Krupa. It’s porn for drummers, especially if you track down some of his drum solos. We had to rip this track from the vinyl ‘The Exciting Gene Krupa’ for this podcast.
10. Wolves In The Throne Room – I Will Lay Down My Bones Among The Rocks And Roots
    I first heard these when Arrrrrrrach showed me a live video of them playing in a barn. The relentless drums are incredible! We opened for them when they played Bristol on their recent tour. The experience of being in the room when they played pissed all over that video. This track is from the ‘Two Hunters’ record, more than a decent closer I think!

Direct link to this Podcast.

The Ghast track played was Give Your Wrists from the album May The Curse Bind.

Listen again here: http://www.bbc.co.uk/iplayer/episode/b00g4w1p/Adam_Walton_28_12_2008/

Catch Ghast live in January: