Tag Archives: amalie bruun

WINTRY METAL? TRY HELLRIPPER

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Is it too late for winter sounds and 2023 catch-ups? Probably. Then again, we’re not out of the darkness yet – not quite – and there’s still a stack of stormy gloom and wind chill to celebrate. For that, we need an unsunny soundtrack. And if a couple of moments from 2023 fit the bill, all the better.  

January/February is the year’s ultimate listening zone. Post-xmas hibernation means you can sink into those end-of-year lists and check what you missed (almost everything, it seems), spend a shiteload of time re-digging the old familiars that fit the season AND discover new-to-you old sounds that then become the foundation for winters future. It’s a cycle that repeats every year. Awesome.  

So, with icy blasts in mind, two albums leapt off the Metal Hammer end-of-year list.

HELLRIPPER – Warlocks Grim & Withered Hags

This is an absolute riot, a thrash ‘n roll explosion of blackened metal that pays homage to the old school – Metallica, Maiden, Motorhead, Bathory – but is fired by precocious Young Man Chops from the Highlands, Scotland. James McBain, aka Mr Hellripper, is pretty much a one-man studio band (sleeve notes: ‘Hellripper is: James McBain’) which means he shreds like a daemon at everything. Can you imagine eating breakfast with the guy? Cornflakes at 200bpm. Carnage.     

Anyway, back to the album and these words are more a reaction than a review because Warlocks Grim & Withered Hags puts such a demented headbanger smile on your face that you’ve just got to share the word with anyone who might not yet have found it. Solos blaze with melody through warp-speed thrash and black-metal throat while riffs groove and hook with anthemic potential. When Mester Stoor Worm closes the album down, it’s with an 8 and a half minute masterclass in epic metallic storytelling.

Disclaimer: it was actually Hellripper’s previous album, The Affair of the Poisons, that made the real first impression. After my must-order-Hellripper rush, Poisons was the fastest delivery. But I can say this: if you’re in for Poisons, you’re in for Warlocks. The Affair of the Poisons feels a shade more raw, Motorhead-ish/Kill ‘em All with Whiplash and Metal Militia vibes writ large. Warlocks Grim has classic speed/metal in its all-out attack but really, I haven’t got deep enough to know anything – too caught up in the frenetic energy, killer riffs and outlandish track titles (Goat Vomit Nightmare, Blood Orgy of the She-Devils, The Hissing Marshes, take your bloodied pick). Hellripper: a furious, glorious deathride. White knuckles mandatory.   

MYRKUR – Spine

Since dropping the Myrkur ball after Mareridt, the sight of Spine at #11 in the 2023 Metal Hammer list prompted a shameful wake-up. Myrkur is back? She sure is. And Spine brings all sides of Myrkur together into one. 

Spectral folk (Balfaerd), soft Scandi-pop choruses (Like Humans), melodic black-metal pace injections (Valkyriernes Sang), sweeping orchestral-vision (My Blood is Gold) and brooding goth-metal drama (Spine) are all present. Uniting every strand is, of course, Amalie Bruun’s ethereal vocals. Spine is her 33-minute musical tour through her new world of motherhood. 

As with the two Hellripper albums above, these words are only a reaction so no great finesse or vision, but excitability? Hell yeah. Next time you get slammed by snow drifts or chilled by subzero winds or blindsided by cold fog banks, reach for Myrkur or double up on Hellripper. Winter mood enhancers for sure.   

Hellripper: Warlocks Grim
Hellripper: Not at all grim

Myrkur – M

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SPLIT-PERSONALITY METAL WITH A BLACK HEART

Now that winter has passed, and with it any last chance of actual snow, the best accompaniment for listening to this record – apart from the darkness of night, natch – is fog. Thick grey dark ffffffog, the fog that really fucking HANGS. John Carpenter Fog.

Failing that, pissing-it-down rain will do – in fact, anything but mystique-stripping midday sun or soul-death flouresence. M, see, is spiked by shards of black metal.

Not that you’d know that from the opening bars of Skogen Skulle Do with its choral voices and waltzing violin sweeps… rustic, serene, unmetal in extremis. An undead scream and swell of horns may well usher in the Threat of the Ominous, but even this is swept aside by luscious pop gothic til the hornswell returns and hints at the sinister ahead. ’tis compelling, beautiful and far from isolated on this all-over-the-place debut… the plaintive piano/voice of Nordlys (shades of Tori, Under the Pink) and Volvens Spadom‘s folksome acappella bring frosted perfection. When Myrkur sings, she’s with angels.

But such melodic abundance means that when the ugly does appear – as in the black metal shred that flays second track Haevnen – it’s ferocious and ultraviolent by contrast. Haevnen‘s feral blasts are fleeting, cut short by hooks so sweet that your head spins… how can that become this within seconds? On one level, mad as a bag of bats. On another, stupendous turns of pace and mood, and that’s the way M works: fluid shifts between extremeties. The middle ground skirts with Eurometal trad-ness, but it’s those outer edges – beast and beauty – that work best. M’s mellow transcends metal completely, and so massive is the divergence from the vicious that there’s a Fantomas-like absurdity of extremes. You could well imagine Patton M careering between the vocal poles of Myrkur’s M.

So who’s behind the slick-yet-schiz 37 minutes? Myrkur – Amalie Bruun – handles voice, guitar and piano, while Mayhem/Ulver-sourced names are among the hands that flesh it out (Ulver’s Garm produces), which could be why there’s no shortage of texture, as with the Sigur-esque guitar coursing through Oybt I Skoven’s pop-metal sheen, or drama, like Norn‘s sleepy tranquility after the carnage wreaked by Skaol. Thing is, not once do you feel that these tracks do not belong together, coz they absolutely do. There’s a common aesthetic. Is it black metal?

Not for the many many hatemongers out there who destroy the idea that this album, this artist, has any credentials AT ALL: not BM, not ‘kvlt’, nothing but Relapse-hyped PR fakery. Somehow, these people think that online aggro is justified.

Unnecessary. Let’s move on.

Is Myrkur of black metal? No doubt, yes, but the crucial thing is not what she is/isn’t – we’re just dealing in pointers and indicators, after all – but just how bold, wintry and weirdly thrilling this record really is. A sprawling White Album mess of a double that ventures even further and longer would be a shit-hot follow up. 

Released 2015 on Relapse Records