VARIOUS ARTISTS - 'WHOM THE MOON A NIGHTSONG SINGS',
PROPHECY PRODUCTIONS; 2010

In a move which seeks to showcase their musical specialties, record labels such as Prophecy Productions will occasionally sell themselves to likely consumers by putting out a carefully selected compilation CD with the best of their bands’ repertoire. However, it’s rarely seen that these bands will be linked together by something other than genre or even icon tributes; which is where ‘Whom The Moon A Nightsong Sings‘ draws its own niche, to set itself apart from other label packages. Bringing musicians together under the aesthetic theme that the two-disc release’s title describes; it may be that this is one relatively small step for Prophecy and another step forward for creative integrity in the ocean of the current music industry.

Naturally, there are those who wouldn't even think to consider this collection of twenty one songs as a possible benefit for music's artistic license; likely dismissing the concept and performances to be found here as dull or pretentious due to its use of acoustic tracks and what Prophecy itself refers to, as "eery, emotional music". Yet suffice to say, it's clear that the compilation isn't for them; which could be read as another reason for enthusiasts to praise its existence despite the harsh criticism of others not interested in the bands or romantic appeal to be found here.

The unifying motif - songs inspired by nature, and man's relationship with himself and all that surrounds him; runs throughout the tracks with names rooted in observations of the natural world. 'Dem Wind Geboren', 'Viima', 'A Year of Silence' and the arguably much awaited 'The Days Before The Fall' from returned neofolk maestros Empyrium all point to the concept of self-introspection and reassessment in regards to one's place in the environment.

Going by the credentials involved with the making of this release, it feels safe to say that one can expect a compilation of hauntingly sombre tracks with moments of emotional intensity; as one expects to find from bands like Dornenreich, October Falls, Neun Welten and Ulver who have contributed one of the three rare tracks to be heard throughout the entire track listing. Much like the previously cited selling point of Empyrium's comeback song, it is indeed a fine piece to be heard - though whereas 'The Days Before The Fall' offers a growing sense of majesty and grace to the discs' atmosphere, 'Synen' brings in a morose, tensed anchor that grounds the listener firmly in the unchartered, distrustful woods from their earlier back catalogue.

Yet remarkably, it seems to be that the songs which stand out the most are the ones that appear to represent the relatively unconventional side to artistic productivity on 'Whom The Moon...'. It must be noted that these are the ones that bare all to the listening audience with their impassioned yet affecting aura of mortal vulnerability. Nebelung's track 'Ich würd es hören' highlights this impression the most; in that fragility and self-recognition are on display here but through a male voice, that neither rises or deepens its tone or pitch as it would often be thought to do. It may seem a small step to some, yet for the creative rights of artists engaged with the music industry at present it may be that the collection could lead to a great leap forward.

[7.5]

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HAIL OF BULLETS - 'ON DIVINE WINDS', METAL BLADE; 2010

Coming two years after the release of debut album ‘…Of Frost And War‘, the second outing from Dutch old school deathsters Hail of Bullets sees a shift in focus from conflicts in Europe during the Second World War to the Far East as the Japanese Empire rose and fell from power. Coincidentally, this change in lyrical direction comes with a change in musical direction for the band. Where the past two releases were really just promising, ‘On Divine Winds‘ sounds mightier, heavier and – as far as death metal goes – groovier than its predecessors. By Jove, this time they’ve got it.

One thing to note here is timing – where ‘…Of Frost‘ clocked in just under an hour of listening time, its successor shaves off just a few extra minutes. Whether or not this is the result of that fact; the outcome is still that there more than ten hammering, full-on tracks of ferocious death thrashing and rabid, harsh vocals courtesy of veteran Martin Van Drunen. Even if you want to make metal in the vein of Asphyx, it’s best not to let the songs drag on for too long; a lesson that the band seem to have caught on to by now.

Another issue is, as mentioned above; the music itself. It might be that the lyrical shift to warmer climates has allowed the furious five to pick up the pace with their second album, yet either way the energy from ‘On Divine Winds‘ is immense. ‘Operation Z‘, ‘Sugar Loaf Hill‘ (if you’ve got this bonus track) and ‘Kamikaze‘ all blast forth with relentlessly smashing riffs and beats that deliver frantic notes of crazed horror; though it’s the closing ‘To Bear the Unbearable‘ which shows off Hail of Bullets‘ newfound vigor most. It may be the slower track on the record, yet it’s also the more dynamic of the lot – throwing crushing grooves together with anguished roars, mourning the aftermath of such violent episodes in human history.

All in all, ‘On Divine Winds‘ feels like the fresh start that the Dutch deathsters have needed to properly kick off their career. Even if all it took was just a way to make their existing sound much better and livelier, it’s still a strong improvement towards becoming the band they want to become.

[8]

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