Honour and Darkness

HROSSHARSGRANI > Promotional advertisement

2012-01-29T21:43:00.003Z

Band: HROSSHARSGRANI
And what's this then, Nazgul? A glossy colour promotional item featuring the Hrossharsgrani discography, and also a rare piece of artwork...

Here's an interesting promotional advert pulled from the Castle archives: a glossy colour display featuring a smattering of early Hrossharsgrani demos from "Blut" through to the "Schattenkrieger" release. It's not a complete summary of the releases to this point - the "Feuer & Eis" demo and "Demo 99" tapes are not featured, for a start, and the "Ancient Tales" cassette version is also missing - but it's a relatively full listing of the items available from Hugin's Viking Battle-Machine circa 2002.

Taking the bottom two rows of cover artwork first, we have - from left to right on the middle row, the classic "Blut" artwork (that went on to form such an awesome t-shirt); the "From The Dark Ages" tape; a photo of Hugin; the "Die Ruckkehr Zum Pfade" tape; "...Of Battles, Ravens and Fire" first pressing CD EP cover; and then to start the bottom row the "Der Pfad Zum Tor Der Toten" CDr cover; "Sagen & Gedichte"; the original pressing of "Ancient Tales" on CDr; "The Secret Fire" CD artwork; and finally the "Schattenkrieger" artwork from the standard jewel-case pressing (the digipak being different again).

Where this advert comes into its own as a historical document, however, is in the uppermost illustration of a sword being wielded against a fiery red background: this, as it turns out, is the original colour cover design for yet another tape release of "Ancient Tales" that was released on the Italian Werwolf Productions label.

That particular pressing (if true to the output of the rest of that label) would most likely have replicated this cover in photocopied black and white, and would have been numbered to a very low number of issued tapes. And, as it turns out, it's one of the very few early Hrossharsgrani demos yet to find its home in Castle Nazgul, so whilst having a copy of the original artwork - in colour, no less - is something of a boon, this tape now is pretty much at the top of the list in terms of rare items to be tracked down.

Nazgul thought he'd found a copy just a few months ago, but sadly it proved to be an old photograph of this cover used to advertise a more modern pressing of the same demo. Given that the infamously elusive Uruk Hai demo "Battle Magic" was also a Werwolf Productions release, the chances are it could be a long and arduous search before an original of this version of the demo is found...

The source of the advert is unknown - it could well have been a W.A.R. Productions release, or equally could have been something in the trade press conjured up by CCP Records, but that is of little consequence: as well as being a colourful record of many early Hrossharsgrani releases, it is the only tantalising evidence of yet another rarity that needs tracking down. Line up the fiery eye for some serious scanning of the Internet!

EMYN MUIL

2012-01-27T18:33:00.007Z

Band: URUK HAI
Title: Emyn Muil
Format: CDr release on the Steel Blazes Records label (Russia) in November 2011, cat ref SBR14. The CDr comes with full colour inlays and booklet, a screen-printed disc, and multimedia bonus material.
Edition: Hand-numbered in an edition of 50 copies only

Track Listing:
01. Emyn Muil 37.05
02. At the End of the First Age 29.03

Multimedia element:
Slideshow
'Beneath The Moon, Beneath The Sun' video track

As someone who has been listening to Hugin's music over more years than most, there occasionally comes along a song that seems to define and encapsulate the spirit of a particular project. 'Emyn Muil' - in its full-length version - is one such track, and is a serious a statement of intent for the current standing of Uruk Hai as you could hope to find.

We encountered the edited version of the song recently on the "Felagund" tape release on SfM, and the track also appears as the Uruk Hai part of the split CDr release with Sepulchral Moon. Whilst at 36 minutes plus it could be argued that there is a certain amount of unnecessary drawing out of the piece, the combination of (to quote Steel Blazes) "majestic dark ambient with clean female vocals" once experienced is both a triumph and a real position-statement for the ethereal heights of dark ambient beauty that Uruk Hai has now reached.

The female vocalist in uncredited, and indeed in conversation with Hugin it transpires that the vocals are sampled rather than specific to this release. That they fit so well and appropriately alongside the music is testament to Hugin's skill in weaving together complex sonic tapestries in a manner that creates such wonderful music.

Honestly, Nazgul couldn't recommend this highly enough to you, so it would be well worth checking out the Steel Blazes web-site (http://steelblazes.cjb.net/) or contacting Hugin in the normal manner to obtain a copy: with only 50 copies pressed (numbered on the rear tray inlay, and Nazgul proudly has #1/50) there really won't be much opportunity to lay your hands on a copy for long.

For those of you wondering about the title of the song/album, in Middle-Earth Emyn Muil was the range of hills upon either side of Nen Hithoel, a vast maze of impenetrable rocky crags that massed on either side of the Anduin above the inflow of the Entwash and at one time they marked the northern borders of Gondor. In Tolkein's 'The Two Towers', Frodo and Sam, attempting to reach the Black Gate of Mordor, are lost in the eastern Emyn Muil for days until Gollum finds them. After a great deal of persuasion he agrees to show them the way through, leading them south into the Dead Marshes.

Paired with this singular song comes 'At The End Of The First Age', or to give it its full title 'At The End Of The First Age (an Opera about Ered Luin, the Blue Mountains)'. Featuring on the 2009 limited edition tape demo of the same name (and indeed on the split tape release with Orcrist in the same year together and then the later 'War Anthems' box-set) this is another lengthy track, showcasing the primal screams of Moloch's Pr. Sergiy. Apart from the tenuous connection of being named after mountain ranges, the approaches adopted in the two songs couldn't be more different in terms of the vocal approach adopted, and to that extent the songs make strange bed-fellows.

What it does demonstrate well is the variety of stylistic approach even within this one project, and as a song that was only ever available on two very limited edition tapes and one even more limited - and vastly more expensive - box-set it does provide a good opportunity for adding it to your collection should you have missed it first time around.

So far, so good! But there's more: a multimedia section!

There are two elements to it: a slideshow containing a combination of photos of Hugin in chainmail and in various poses with sword, and some fabulous images of snow-covered mountains and landcapes. These would form an interesting post in their own right. The second element is the video to the "Beneath The Moon, Beneath The Sun" track, a song that appeared originally on the "A Dark Force Shines Golden / Dreams of the Ancient Stone" split release with Saltvind back in 2008.

Nazgul was really impressed with this release through and through, from the quality and originality of the cover artwork to the general design and execution of the release by the label to the musical and multimedia content from Uruk Hai. It's a very promising start for Hugin's releases on the Steel Blazes Records label, and with the latest Hrefnesholt digipak release out on SBR and some awesome box-sets coming too things bode very well indeed for the future.

THIS IS FUCKIN' HORROR

2012-01-24T18:17:00.002Z

Band: B-MACHINA
Title: This Is Fuckin' Horror
Format: Internet download available from http://b-machina.bandcamp.com and released on 17 December 2011.
Edition: Unlimited download

Track Listing:
01. This Is Fuckin' Horror 10.43

Following on from B-Machina's "Heimatleid" EP being made available for download via the Bandcamp website, the project has grasped the bull firmly by the horns and uploaded a second song in the same format, this time rejoicing under the delicate title "This Is Fuckin' Horror". Heavens above - swearing in one of Hugin's song titles?! What, you might reasonably ask, is this all about?!

Well, for starters let's have Hugin's thoughts on the song:

"The story behind it is simple; I was in the mood to create something new for Bonemachine and I started without any concept, and more and more when I'm working on it the song sounds really horrifying, so dark and scary! But that's just my opinion about this track, maybe other people hear something totally different in it!"

Listening to the piece once again as this post is being typed, Nazgul notes that amidst the fuzzy, static-filled backdrop there are some fine guitar passages in the mix, alongside monsterous outpourings of electronica and vast slabs of noise, together with the delicate pickings of more acoustic refrains. The overall effect is decidedly unsettling, particularly with the electronic effects and strange almost animal-like vocalisations that appear sporadically through the song. One of those strange songs that creeps up on you and grows on you like a mould, but will create a vivid mental image in the mind's eye of listeners.

Is it fuckin' horror - well, to those of you wholly accustomed to the more ethereal waftings within the Uruk Hai discography it might well be, yes! It fits nicely within the B-Machina canon of musicial experimentation, however, and whilst it's fair to say it's not the most instantly appealing song you'll ever hear there's most certainly an insane charm to the thing which is hard to ignore!

As ever with the Bandcamp website the customer is largely free to choose their own price to download the song (above a notional starting price), so dig deep and throw some loot in the direction of the B-Machina juggernaut. Who knows, it can only encourage Hugin to upload more of these insane musings for his equally insane followers to devour.

And look - just to show there's no hard feelings about the recent Bonemachine bootleg saga, Hugin's even added a picture of Kenji Siratori on the artwork for this release...

LOST SONGS FROM MIDDLE-EARTH - update II

2012-01-19T16:31:00.005Z

Band: URUK HAI
Title: Lost Songs From Middle-Earth
Format: Silver CDr disc and hand-written inlays within a red paper wallet
Reason for update: Details about how the release was originally conceived by Hugin...

Just a quick update today, but on an interesting theme: the original proposed format for the "Lost Songs From Middle-Earth" album, reviewed on Honour and Darkness back on 21 July 2009 and subsequently updated for some artwork publicity additions on 30 January 2010.

The final release came in two formats: The first was a CD release on the Aphelion Productions label, with bonus tracks from the "Die Legende..." demo of 2002. The second and later release was a tape version on the American Winter Solstace label, which had a separate set of bonus songs, this time from the original "In Durin's Halls" release of 1999. Both very worthy additions to your collection, with the CD pressing being by far the easiest of the two to track down.

However, it transpires that these formats were not Hugin's original vision for the release at all. What had been proposed was for the release to be in two distinct parts: Firstly, a 3" mini-CD release with just three songs: 'Ecthelion', 'When Daylight Is Gone' and 'The Last Of The Dragons' (respectively, the 1st, 3rd and 2nd songs on the eventual release). The second format would be a vinyl release adding the attractively named 'The Nazgul' song as a bonus track. This song was featured as track 6 on the final versions.

For various reasons presumably to do with the labels releasing the product this plan didn't come to pass, and instead of a 3-song 3" CD and a 4-song vinyl release we ended up with the 7-song 5" CD and a 7-song tape release! It really couldn't have been more different.

That said, the final two formats did allow for the inclusion of additional songs and for older demos to get a fresh airing, so in that respect there can't be two many complaints. One can't help but wonder what the alternative versions might have looked like at the end of the day, though....

To finish, here's the "Lost Songs..." family all gathered together for the first time!

FACE THE SCIENCE

2012-01-17T16:09:00.002Z

Band: BONEMACHINE/B-MACHINA with Kenji Siratori
Title: Face The Science
Format: Plain silver CDr disc in a yellow wallet, housed inside a folded card sleeve as illustrated. No details regarding date of release or point of origin.
Edition: unknown

Track Listing:
01. Anti-Vital 9.27
02. Orbit 3.32
03. Corpse City I 22.23
04. Transfiguration 20.14
05. Dark Side 16.04

As Douglas Adams' potted plant famously said, "oh no, not again...."

The phrase "cheeky bugger" is not one that crops up on Honour and Darkness regularly but allow Nazgul to make an exception, as once again we explore the twilight world of Kenji Siratori's bootlegging activities.

For those unfamiliar with the events thus far, a short recap. There have been some official collaborations between Hugin's Bonemachine project and Kenji Siratori, notably "Acidhumanix" and "Crypt Child", whilst more recently B-Machina and Kenji got together for the "DNA". That seemed to be the time (2007) that the problems started, as Kenji's own label - Hypermodern - released a CDr bootleg version of the "DNA" tape without Hugin's knowledge.

Skip on a year or two and a slew of bootlegs of a different sort appeared, again through Hypermodern. These took the Bo-Machina name and purported to be collaborations once again, each coming in an A4-size package and in an edition of 30 copies apiece. Nazgul collected a few of these and posted on the subject in Blog on 31 August 2009. One of the major issues here was that none of Hugin's music actually ended up on any of these later releases, and the B-Machina name was being used entirely improperly. A number of other releases in similar format featuring apparent work with other bands in the industrial ambient genre also appeared at the same time, with the presumption being that these too demonstrated shameless charlatanism.

And so back to where we began, with the "Face The Science" release. Although there are no details about label or source it seems highly likely to be another Hypermodern release, or one closely linked to them: one suggestion for this is because the track listing is exactly the same as that used on the CDr bootleg of "DNA" even down to the running order, which, as the sharp-eyed amongst you may have spotted, is not as advertised on the rear of the inlay but as detailed under Nazgul's 'Track Listing' information.

As second giveaway comes from consulting with Hugin about the release. When Nazgul found a copy online and purchased it, it seemed to be a unlikely happenstance that Hugin had never mentioned it before. Sure enough, much righteous indignation was expressed in deepest Austria when a scan of the cover was emailed over to WAR, as it turns out that the artwork was actually designed by Hugin and sent to Kenji some years back for a proposed joint release that never happened!

Rather than falsely credit other music to B-Machina this time around, Kenji/Hypermodern have taken the B-Machina tracks from "DNA" and added an old Bonemachine cover to them, adding a new title and 'hey presto' - a new release! Cheeky bugger....

So there we have it - a 'new' Bonemachine release that turns out not to be so new after all, and another chapter in the Japanese bootleg saga recorded for posterity.

To quote from the original review of the "DNA" tape on 27 June 2009, Nazgul found an apt description online of the actual music that is worth repeating:

"The image DNA places in my mind’s eye is of warped transmissions from a dying planet. Indiscernible voices apathetically preach of the end of times as the world around them slowly fails and fades into another chapter of infinite history. The first track, Anti Vital, while in the same theme as the rest of the album, stands very much alone. It’s theme is very militant and oppressive, but is comprised of off-kilter rhythmic samples. This track is a strange offset to the rest of this release, but is very likable and I will return to it often.

As a whole, this release rides the line between a passive sense of loss and hopelessness, a collection of uncaring eulogies for the dead and dying. Every track is filled with ongoing drones and voice samples. I am somewhat familiar with the works of both B-Machina and Kenji Siratori. I could not honestly say I can tell which artist performed which role on this release. This is a very strong example of the abilities of each artist, and speaks well for the collaborative effort between the artists and labels."

Chances are you'll never see a copy of this for sale anyway unless you frequent the same strange parts of the internet that Nazgul occasionally visits, but if you do see this CDr anywhere the advice would be to boycott it and buy instead the official SkullFuckingMetal tape pressing from our old friend Keegan instead and benefit from the additional track 'Corpse City II' as well.

Rather than "Face The Science", one feels all of this underhand skulduggery is going to lead to someone facing the music in a more literal sense someday soon...

FELAGUND

2012-01-16T14:17:00.002Z

Band: URUK HAI
Title: Felagund
Format: Cassette tape release in 2011 on the SkullFuckingMetal [SFM] label (Canada), no catalogue reference, and comes with a single-sided black and white cover. This copy has been dedicated on the inside of the cover by Hugin with "Elvish Hailz"!
Edition: Unlimited

Track Listing:
01. Felagund
02. The Sound of Gondor
03. Moriquendi
04. Memories
05. Emyn Muil (edited version)

Let's begin with a sales pitch / plea to all readers of this esteemed epistle. This superb tape is currently unlimited in volume, meaning that unlike the vast majority of Uruk Hai's very limited releases you will be able to lay your hands on it without difficulty. It's been released by a long-time supporter of Hugin's music - the noted SFM label run by Keegan in Canada - and is packed with brilliant music at a very fair cost. If you do nothing else today why not point your browser towards http://skullfuckingmetal.blogspot.com or drop Hugin an email to order your own personal copy?

Support the underground and support Hugin!

Let's continue with a look at "Felagund" itself. The title presumably comes from Finrod Felagund himself, a Noldorin Elf, recently encountered in the "Nargothrond" review. The Felagund element of the name was an epesse (an honorific after-name) given to him by the Dwarves who expanded the caves of Nargothrond, and meant "Hewer of Caves".

It's not the first time that the Felagund name has been used in one of Hugin's songs: give yourself a moment to consider where you might have come across it before...? Given up yet - well, Nazgul wouldn't blame you as it was back on 2 July 2009 when the review of Hrossharsgrani's "From The Dark Ages" tape revealed that track 9 on that tape was called 'Felagund (Part II)'. As you may surmise from this, given the different recording periods in question, the two tracks are not related in any other way!

The five songs on this tape are meticulously crafted, graciously melancholic pieces of dark ambient wizardry. They have moments of uplifting beauty in parts, but the mood seems to be a sombre one, and the emotional range created by these songs will leave your imaginings wandering the dark paths of Mirkwood in search of solitary places to dwell.

Title song 'Felagund' is a epic piece of artistry in this fashion, and manages to weave in a keyboard melody that sounds just a tiny bit like Sinead O'Connor's 'Nothing Compares 2 U' into the bargain (or perhaps it's just time that Nazgul reached for his medication), whilst the haunting violins playing out on 'The Sound of Gondor' are a far cry from the uplifting refrains of 'Gondolin Falls' from the 2004 "Honour" demo tape.

'Moriquendi' (the title given to the Dark Elves) follows on from this in similar fashion, and whilst 'Memories' starts to create a more upbeat atmosphere it's left to the final (edited) song 'Emyn Muil' to marry the depression and despondency with glorious chants and melodies to finish the demo on a high. This final song is an edited version of the 37 minute epic from the Uruk Hai / Sepulchral Moon split CDr (see post of 2 August 2011), and more good news: "Emyn Muil" the full-length release now exists on the Steel Blazes label in lavish colour covers with an additional song from the recent past of Uruk Hai. More on that release in a future post.

One final matter to cover, being "Felagund" - the movie! Yes, as improbable as it may sound there is an extended video that has been shot by fans of Hugin from the US under the "Felagund" banner, and - of course - Nazgul has managed to track down a copy for the Castle library. This one will be reviewed very shortly, so watch this space!

So let's end where we began - this is a golden opportunity to expand your personal Uruk Hai collection at little cost and with a brilliant demo, so get in touch with Keegan or Hugin to support both the underground and the band.

EXPERIMENTUM SOLARIS master disc

2012-01-12T17:40:00.003Z

Band: WACH
Item: Experimentum Solaris master disc (v2)
Reason for update: One of Hugin's personal master discs for this album, housed in a green paper wallet.

Goodness gracious - no less than 2 WACH reviews in consecutive months! That sort of madness hasn't happened since the earliest days of Honour and Darkness, when releases from Hugin's various projects lay unreviewed in abundance! This sort of thing won't carry on for long of course, as WACH has - to say the least - a sporadic pattern of relasing material.

That said, 2012 will see the appearance of the new "Nordwand" EP from the band on the Blog, as the CD literally arrived at the Castle gates yesterday via the local orc courier service. We shall have to see what that entails later this year...

Back to the matter at hand; a master disc of the "Experimentum Solaris" album. This album was reviewed in its published state back on 15 April 2010 and received positive reviews not just from Nazgul but across a number of online review sources. Rather than simply being a plain white CDr, this master disc has been subject to a little doodling session and now stands out as a unique and decorative piece!

Musically nothing new to report, but a welcome chance to relisten to a well crafted and atmospheric collection of otherworldly space-ambience.

ZEIT & RAUM promotional VCD

2012-01-05T18:02:00.005Z

Band: CEREMONY OF INNOCENCE
Title: Zeit & Raum [video track]
Format: Promotional 1 track Video CD containing the video for this song, which was included as a bonus clip on the COI release "Der Rote Glanz Der Flammenfee" in 2008. This white-label disc comes in an orange paper sleeve contained within an orange plastic wallet.
Edition: 1 copy

Track Listing:
01. Zeit & Raum [video track] 5.10

So then ... let's be different and open up the 2012 Honour and Darkness schedule with a less frequently featured project - the pop/ambient artistry of Ceremony of Innocence (COI).

This promotional VCD was in fact Hugin's back-up copy of the video track for "Zeit & Raum" as featured in the bonus content of "Der Rote Glanz Der Flammenfee" release. With some catchy synth textures and pop sensibilities, this is one of the songs on that album that is supremely commercial and very easy to get lodged in your mind, with its piping refrain at the start and lush orchestration throughout.

The video - the same on this promo as on the official release - presents the viewer with a broadly monochromatic kaleidoscopic effect, with bursts and rays of pulsating light and other effects detonating on your synapses. As the video unfolds - and partially hidden behind the plethora of visual effects - we come across Hugin himself, keeping the beat on a large drum as the visual chaos continues around him. Coupled with the start and end credits showing this is a COI release on the Beverina label, that about wraps things up!

The images accompanying this post come directly from the video, and if the sight of Hugin on the drums looks familiar to you it may be because it is a similar image to that used on the inlay for the proposed 2-track A.M.F. Productions COI release covered on 19 March 2011: a release that didn't, in fact, come to pass.

Will 2012 see new Ceremony of Innocence material to continue the 'elements' theme that "Der Rote Glanz Der Flammenfee" started? Only time will tell, but until that point why not see if you can lay your hands on the original release to soak up some COI rays of your own...?

2011: the year in review

2011-12-30T10:12:00.003Z

Part of the expanding Castle Nazgul collection

Well, 2011 has been another busy year in Castle Nazgul, not least in making preparations for the arrival of baby Nazgul in March next year. That happy event might well affect the number of posts in 2012, but we shall wait and see!

This was also the year that brought Hugin to these shores for the first Anglo-Austrian summit at Castle Nazgul in August. Plenty of sightseeing was undertaken (the plague-pits on the far side of the moat always make for a fine spectacle during the summer months), and a fantastic time was had by all.

Our hero Hugin has had a hectic 2011 also, evidenced by the steady stream of releases emanating from W.A.R. Productions. Whilst not quite the flood of items that we witnessed in 2010 (which is fair enough really, the man has a life outside of entertaining us after all!) there was still a prodigious volume of new material to absorb and enjoy ranging from box-sets, EPs and full-length CD and tape albums, and the odd bespoke item too. Considering the time taken between releases of mainstream bands (perhaps 1-3 years between albums on average) we are truly spoiled by the volume of interesting and consistently high-quality material that Hugin releases.

The majority of action has been seen with what you might consider the core bands (Uruk Hai predominantly) whilst some of the smaller or less mature projects have had fleeting (if any) recording activity at all in the last twelve months - or, to qualify that more precisely, nothing that we've heard yet. This is shown in the band-by-band summary below, where you'll notice a distinct lack of activity in some quarters compared to the 2010 annual round-up compared to this same time last year.

It's been a steady year in terms of the growth of Honour and Darkness, with more members, visitors and countries logged on the Flag Counter than ever before and significant increases since this time last year. On average Honour and Darkness now sees 34 new visitors arriving daily (compared to 19 last year) together with 69 regular daily visitors (54 of you last time around), whilst the total number of hits on the site stood at 53,946 thanks to 26,544 of you visiting as of writing this post today (16,800 hits from 5,312 visitors this time last year).

There have been an incredible 131 countries who have visited Nazgul's little corner of the web, up from 89 in December 2010, and it's been a mixture of the obvious and the unexpected in terms of where you've visited from!

The majority of visitors still come from the USA, Germany, the United Kingdom and France, and there is a growing contingent who hail from Canada and Brazil too. However, 2011 has seen visitors coming from Libya, Netherlands Antilles, Iraq, Suriname, Mongolia and Madagascar as well, which in the grand scheme of things is rather wonderful! This means that 66.8% of recognised countries worldwide have at least one interested party/fan of Hugin's music there. Barbaric hails to each and every one of you all for your support!

One thing that increasingly strikes Nazgul is that whilst the number of visitors to the site has increased over the year, the number of emails or messages you send in has dwindled markedly. Whilst it's true to say that Honour and Darkness exists as a tribute and a labour of love than being a debating forum it would be nice to hear from you and listen to your thoughts and comments about the music, the reviews, life, the universe and everything once in a while! So make it a New Year's resolution to drop Nazgul at least 1 email to honouranddarkness@gmail.com and share your thoughts.

Right, let's get down to business with a quick round-up of some of the principal activity in 2011

URUK HAI

2010 saw in excess of 30 Uruk Hai releases, a productive year by any standards! 2011 has been far quieter, although towards its conclusion there are distinct signs that the W.A.R. Productions machine is picking up speed once again. Although the anticipated - and entirely bonkers - 40CD box-set on Steinklang didn't appear, the year has seen two new compilation box-sets appearing in the form of "Gorgorth" (6 discs!) and "Courage Is Found In Unlikely Places" (10 discs!!), plus the issue of a deluxe two-disc metal tin edition of "In Durin's Halls: Return To The Mines Of Moria" to complement the earlier tape release and slimline CD pressing.

The "Courage..." box-set is especially interesting as it brings together some classic demos from the 2004-2005 period, including songs previously only available on tape versions, so a review of this release will doubtless be a star attraction in Honour and Darkness in 2012.

In other activity, Wulfrune Worxx kept up their support of the band with a number of demo releases, some reviewed already on these pages and some yet to appear. Highlights included the "Nargothrond" collection, a tribute to Wulfrune's owner Skogen via the "Natt Skogen (A Dark Jubileum)" ensemble piece, and two demos based around "Spirits" that also saw versions issued on the Ukrainian Depressive Illusions label. Apparently passing under the radar of the general public near to the end of the year was a very limited edition tape/DVDr release called "Power Of The Ring", which Nazgul will be reviewing soon, but more well publicised were two split releases - "Darkness and the Blood of Trees" and "United with the Fallen Ones..." both of which look very interesting indeed.

2010 saw a tendency towards longer single-track and decidedly epic releases, a trend which has continued in 2011 to a degree (with the aforementioned "Spirits" releases) but tempered with the arrival of a few multi-song demos and compilations of past albums. The standard and quality of Uruk Hai releases has maintained at a high level whatever the style or format, boding well for a bumper 2012.

Highlight of 2011: "Courage Is Found In Unlikely Places" - a welcome reintroduction of some classic albums and rare tracks from the mid 2000's.
Lowlight of 2011: No 40CD box-set to enjoy (although this news caused Nazgul's bank manager and postman to breath sighs of relief!)

HREFNESHOLT

The highlight of 2011 was the release of the "Kreuz" demo tape, which took the evolving Hrefnesholt sound to new heights. Although we didn't see a glut of releases from this project in the last twelve months, the quality of what we did hear and the distinctive sound created by the band is truly exciting, carving out a unique niche for itself in the process. The last months of the year also saw some demo tapes from the last year or so being compiled onto a new digipak CD release called "A Haund Voi Dreck", which should prove to be a godsend to anyone not able to get hold of the original cassettes.

As long-time readers will know Nazgul has always had something of a soft-spot for Hrefnesholt, and with the distinctive and organic music being created over the past two years this really does seem to be the beginning of something really special as far as this project is concerned.

Highlight of 2011: The compilation "A Haund Voi Dreck", a must-have item
Lowlight of 2011: None

HROSSHARSGRANI

Can you hear it - the almost silent sound of tumbleweed slowly rolling and bouncing across the plain? That's pretty much the total of Hrossharsgrani activity in the last calendar year. Given the volume of work that Hugin produces it's inevitable that now and again some bands go into temporary hibernation, and this year it seems to have been Hrossharsgrani's turn. The Australian label Smell The Stench did put out a 3"CDr version of "The Long Grey Road" demo in the last twelve months, however, and a nicely crafted release it proved to be, but otherwise it's been a quiet time for this particular endeavour.

Mind you, Nazgul managed to get his hands on something from this band that had long eluded him, so that was a definite plus for the year: more of that in a future post.

Highlight of 2011: The artwork on the 3"CDr was excellent, and the 'mystery' find a real treasure!
Lowlight of 2011: A general dearth of material

B-MACHINA

With Max up to his ears with the Steinklang label it looked as if this would be a pretty lean year on the B-Machina / Bonemachine front. In terms of new releases that proved to be the case, but true to form Hugin came up trumps with some rare and previously unknown demos being unearthed from the depths of his Austrian lair. "Sperrgut" was one such excellent demo, recently reviewed, and it is simply amazing at times to consider how much excellent material Hugin has made over the years that may still lie unheard and unheralded in the dark, shadowy corners of W.A.R.

A development right at the end of the year - just in time for this seasonal round-up in fact - was the use of the Bandcamp website for pay-to-download tracks from B-Machina. Two have been uploaded to date, the "Heimatleid" release (recently reviewed) and the single track 'This Is Fuckin' Horror', which has literally just been uploaded in the last week or so. Perhaps this is another way forward for 2012 releases from Hugin's bands...?

Also found during 2011 was yet another bootleg release from Japanese artist Kenji Siratori using the Bonemachine name and cover artwork designed by Hugin. This particular item will be suitably scowled upon later in the new year!

Highlight of 2011: The emergence of rare Bonemachine demos, a treasure-trove indeed Lowlight of 2011: None to speak of - some new material and rare finds would make it churlish to moan!

ELISABETHA

Nothing to report on the Elisabetha front in 2011, save for some nice collectibles in the artwork field from the pen of Neon Ästhet that have found their way to Castle Nazgul. It appears as if the recording days of this particular project may be over, although as Nazgul has learned to his cost over the years: never turn your back on the undead....

Highlight of 2011: Nothing to report
Lowlight of 2011: That there was nothing to report

WACH

This time last year Nazgul was metaphorically smacking his lips at the prospect of the "Nordwand" release dropping into the Castle mailbox, as it was at that time an imminent release. Twelve months later and "Nordwand" has now been released, although so late in the year that Nazgul has yet to get his sticky mitts on a copy. Still, it will be a nice treat for later in the festive season. Also appearing at the eleventh hour was a WACH track on the compilation CDr "Gone", at least giving us something to review from the band this year!

Highlight of 2011: The appearance of "Nordwand"
Lowlight of 2011: "Nordwand" won't appear in Honour and Darkness until 2012

MANWE

Whilst the year-end 2010 report suggested a new demo or album might have been forthcoming in 2011, no completed recording has yet emerged for public consumption. That said, developments in the project itself has led to Rich Davenport (See Red, Atomkraft) becoming the new band member alongside Hugin, providing both guitar and vocals to the mix. The first song Nazgul has heard is called "Tears In A Burning Eye" and has been recorded for the successor compilation to "The First Ring" album on Nocturnal Productions. It's an excellent song too, and one that might well be covered in a separate post shortly.

Highlight of 2011: An exciting new recording bodes well for the year ahead
Lowlight of 2011: No new album just yet...

EISMOND

Since the original "01/2010" demo was released we've not heard further from this venture, although with icy blasts whistling around the crumbling castle corridors it reminds Nazgul that a fresh listen to this demo would be most timely.

DRACHENFEUER

Those of you waiting patiently for the formal release of the debut album "The Realm Of The Light" will have had a frustrating year, as there's still no official release in the offing. The issue seems to be one of finding an appropriate label to release the album through, but it surely will happen in the fullness of time: It's far too good a recording to be kept in the wings forever.
Solid Grey ...And it's a similar story here for Solid Grey: we finished 2010 primed to receive some new material in 2011 but as yet other projects and business have taken precedence. This very different musical direction is one that Nazgul is interested to hear, so let's hope that we might see the debut album released in the forthcoming year.

CEREMONY OF INNOCENCE

...And would you believe a similar tale here too?! A recent parcel from W.A.R. to Castle Nazgul did contain a COI promo disc, although at this stage it's still awaiting close inspection so whether it is new or old material isn't yet established. Again, given the number of other projects on the go, one shouldn't really expect every band in Hugin's extensive repertoire to have released material in one year

What lies ahead for 2012...?

We couldn't finish without some thoughts from Hugin himself, of course. These were some of his personal highlights of the year:

"My personal highlight was my visit to Castle Nazgul, whilst musically I have to say that the work I did together with Joe Matera & Rich Davenport is awesome too! It's a bright light for Uruk Hai in 2012 too!

My fave release from my personal projects is the "Cirith Ungol" A5 Digi Pack, and my favourite other releases for 2011 are harder to say so I need to pick up some more: 1. Atomkraft "Cold Sweat"; 2. Mpire of Evil "Creatures Of The Black"; 3. Venom "Fallen Angels"; 4. Joe Matera "Slave To The Fingers"; 5. Riot "Immortal Soul"

My wish for 2012 is to travel again to UK, maybe to watch the Olympic games, and my musical aim is a new Uruk Hai album and a new Hrefnesholt album ... and ... a possible Hrefnesholt live session in the Alps!"

A live session in the Alps?! Holy Hell!! That's certainly something to watch out for as a highlight as far as Nazgul is concerned - we could convene the first meeting of international Hugin appreciation society!

So there we have it, honoured guest: the end of another year here on Honour and Darkness. In fact, the end of the third year of the Blog, and still there is no shortage of new items for us to enjoy. It really is an incredible personal achievement for one man to have recorded so much great music over the past decade and to still carry the enthusiasm for his craft as keenly as ever, and Nazgul is sure that you will all join with him to wish Hugin the very best of health and fortune for 2012.

And a final thank you once again to all of you for visiting Honour and Darkness, and hopefully enjoying these pages: Nazgul wishes you all a prosperous and healthy 2012.

ANCIENT TALES - update III

2011-12-27T11:52:00.008Z

Band: HROSSHARSGRANI
Title: Ancient Tales
Reason for update: The original CDr pressing of this album is finally secured! Released in 2000 on W.A.R. Productions, cat ref WAR010, with full colour inlays and poster.
Edition: 200 copies

About a year or so ago Nazgul pondered on the 5 of the most sought-after items that the collection had yet to uncover, which included the legendary Uruk Hai demo "Battle Magic" - now happily collected - and also this Hrossharsgrani release: the original CDr pressing of the "Ancient Tales" CDr in an edition of 200 copies, complete with A4 colour poster of the original cassette artwork.

The album has since been re-released in a double-disc format on the Russian Valgriind label. That pressing included a host of bonus material, some of which was included on the tape version as bonus tracks and some of which was contemporary to the 1999/2000 period in Hrossharsgrani's recording history.

However, like all collectors Nazgul wanted the original release and was lucky enough to find this copy courtesy of a certain Mr Wieser, of Linz, Austria. You may be familiar with him....

To celebrate this happy event today's post has gone slightly overboard on the photographs, but then again so few images of this particular pressing have been posted online it seemed to good an opportunity to waste.

There are some classic period images on this CDr's inlay, including the one shown further above of Hugin in his warrior helmet standing in the snow, broadsword in hand (and that sword must be almost 6' tall Nazgul would imagine, not the sort of thing you'd easily wield in anger)

This is a really great find, and it almost completes the set of "Ancient Tales" releases that were issued at the beginning of this century.

'Almost..?' Nazgul hears you cry, quizzically. Why yes - this may not be the final update in the "Ancient Tales" story for no less than 2 reasons: Firstly, the whisper of a prospective multi-CD compilation of early Hrossharsgrani work that might well be coming our way in 2012 and which would doubtless include this album. And secondly, due to the fact that another tape pressing of this album exists, on the Italian Werwolf label, and that is also out there ... somewhere...!

For now, however, Nazgul is grateful that this item has finally come home to roost in the collection, and hopes that you've also enjoyed this look at what has proven to be one of the hardest Hrossharsgrani releases to find from those early years.

MIDDLE-EARTH (PART II)

2011-12-22T15:14:00.003Z

Band: URUK HAI
Title: Middle-Earth (Part II): The Outer Lands
Format: Cassette release on the Wulfrune Worxx label (France), cat ref WW174. The standard black and white photocopied inlays accompany this release. A later CDr pressing of this demo is available in the "Gorgoroth" box-set (2011).
Edition: Hand-numbered edition of 66 copies

Track Listing:
01. Middle-Earth - The Outer Lands 33.40

And so the festive season looms in the wings and even Castle Nazgul is not immune from brightly coloured tinsels being draped around the portcullis, or severed heads decorating the turrets. It's a hectic time of year with little spare time for frivolities, so let's get down to a little seasonal fare with Uruk Hai and some mince-pies to warm the cockles on a cold winters afternoon.

This tape is the second in the "Middle-Earth" series, of which there are currently (at the time of writing) four parts in total. You may also recall that Nazgul was fairly ambivalent about "Part I" when it was reviewed on 24 November this year, noting that whilst it was far from offensive it didn't set the pulse racing in a way that other recent Uruk Hai outings had done.

Happily, this demo is rather different. Given time to sink in over repeated listens, this is a demo of multiple parts: yes, there is the orchestrated synthesiser and drum signatures that boom and waver around the Misty Mountains like a call to arms, all very mysterious and harmonious at one and the same time. But there's also some unexpected touches to this demo, not least the soothing and actually rather good piano touches that appear after 17 minutes or so, and again at around the 21 minute mark.

It's all rather reminiscent of the piano pieces from Hugin's "Differences" demo (see post of 25 September 2010) and not only does it demonstrate once again that Hugin knows his way around a keyboard, it also shows an ear for melody and subtleties that are so often missing from other bands in this genre.

In short, "Part II" is a very welcome addition (and boost) to the series and - along with it's mysterious misty wooded cover - adds greatly to the story thus far. High hopes, therefore, rest on Parts III and IV...

ELIA'S LEBENSGESCHICHTE

2011-12-20T17:46:00.007Z

Band: ALEXANDER WIESER
Title: Elia's Lebensgeschichte
Format: CDr in full colour covers, self-released for the 2009 'Langen Nacht der Kirchen' in Austria (see text)
Edition: 30 unnumbered copies

Track Listing (one long track):
A concept story in summary:
King Ahab honours a god of strangers 0:00 – 01:36
Elia is threatened with a drought 01:36 – 02:36
Elia hides at the river Kerit – Ravens bring bread and meat to him 02:36 – 03:26
The river dried and Elia goes to the widow, she parts the last bread with him – now she has flour and oil forever 03:26 – 04:30
Elia has a contest with the Prophets of Baal and his God wins 04:30 – 06:12
Elia is persecuted and flees from the vengeance of the Queen 06:12 – 06:54
He hides in the desert and faces death death. God gives bread and water to him. 06:45 – 07:48
Elia walks 40 days to the mountain 07:48 – 08:24
At this mountain Elia enters a cave and whispers about his sorrow 08:24 – 09:01
God talked to him: I will come
A storm rumbles mountains 09:01 – 09:31
An earthquake crushes rocks 09:31 – 10:19
A fire follows – but still God was not there 10:19 – 10:43
After that comes silence: Elia came out of the cave and God passed by 10:43 – 12:07
Elia comes back annointed a new king and prophet 12:07 – 12:55
Elia transcends and rides a chariot of fire into Heaven 12:55 – 14:31

And now for something completely different ... again!

Occasionally Honour and Darkness throws up something that even the most ardent of Hugin's fans and followers are blissfully unaware of. Past examples of this have included the unearthing of the quasi-legendary Guts For Dinner demo; the I.L.L. demo on Smell the Stench, or the practically unheard of Raben Nacht demo.

This outing is something else yet again. Recorded with his actual name of Alexander Wieser rather than the normal his solo sobriquet, Hugin. This is largely because - one would imagine - that this release is a far more personal creation as opposed to one that needs to 'fit' with his commercial discography. That said, as it's one of Alex's releases we must take a look at it in order to fulfil the modus operandi of Honour and Darkness!

The CD was released as part of the celebrations for the 'Langen Nacht der Kirchen' (Long Night of the Churches): a joint project of all 14 Christian denominations that are represented in the World Council of Churches in Austria. The purpose of the event is not necessarily to preach the Gospel, but to celebrate the beauty found in religion though arts and music. By way of example, on May 28 2010 more than 720 churches throughout Austria opened their doors, and with over 3,400 different programme points invited people to get acquainted with them, and on 27 May 2011 the process happened all over again.

As the website for the Vienna-based part of the event in 2011 details, "The 'Long Night of the Churches' shows what our churches offer: you can discover interesting artistic details, enjoy the view over the rooftops of Vienna from the steeples of the city and explore the secret passages under the church premises; you can meditate to Gregorian chants and experience a rock concert from the first church bench, or (even) participate in a religious service!"

For the 2009 event Hugin created this particular disc, presumably in the spirit of getting the churches in Linz rocking to barbarian metal! The subject of the piece is the Prophet Elijah (also known as Elia, or Elias), arguably the greatest prophet of the Old Testament next only to Moses. Reducing his 'career' to a short paragraph might seem somewhat churlish, but in brief he sought to abolish idolatry and restore justice during a time when the Hebrew nation was divided. He raised a dead child; he brought fire from heaven, through prayer, three times; he did not die but was carried skyward in a chariot of fire; and, so it is said, will return to prophesy once more before the end of times. Interestingly, the Vangelis "Chariots of Fire" release was also about Elia.

One of the first things you notice about the CD is the name Elia SolarCity. Now, it just so happens that the fiery eye has spotted that in Linz (home of W.A.R. Productions) there exists something called the Linz Solar City Project. This is an integrated solar village for 1300 households on the outskirts of Linz and includes other infrastructure, including shops, schools, and a 7-km tram rail line to the city centre. The Elia Church, for which this was recorded, is located in SolarCity, hence the name.

The second thing that strikes you is the detailed narrative on the inlay for track listing: segments in the life of the Prophet himself, all contained within a single piece of music spanning about a quarter of an hour. The style and tone of the song is unmistakably Uruk Hai-ish in places, and in fact Nazgul would go so far as to suggest that there are distinctive samples and elements of existing Uruk Hai songs that get a dusting down and re-airing on this disc. This seems an entirely practical approach, given the likelihood that many of the people hearing this would have been unlikely to be familiar with Alex's other music, and with all the other pressures of life it would be the most natural thing to use what was readily available to evolve something new.

And do you know, it's a really pleasant listening experience! It captures the hauntingly eloquent and ambient nature of Alex's more tranquil keyboard works and surely would have sounded amazing if played at volume in the vaulted chambers of an old church.

Speaking with Hugin about this release, it transpires that although there were only 30 copies pressed of the original CD it's possible that more will be done in 2012 complete with a new logo and new artwork, including both an audio and video version, shown in the last image above. Which will hopefully put this release into the 'accessible' category for those of you whose interest has been piqued by this review.

HEIMATLEID

2011-12-13T19:22:00.004Z

Band: B-MACHINA/BONEMACHINE
Title: Heimatleid
Format: Internet download available from http://b-machina.bandcamp.com/album/heimatleid and released on 9 December 2011.
Edition: Unlimited

Track Listing:
01. Heimatleid 12:51
02. Little Boy 21:49

Stuck in your hunt for the perfect last-minute Christmas present this year, or simply looking to give yourself an unexpected treat? Look no further, for our old friend Hugin has just the affordable stocking filler for any discerning music fan. Granted the theme of 'war industrial' is not especially festive, but ho-ho-holy shit this is something well worth breaking into the holiday budget for.

For the minuscule sum of €2.99 you too can be the proud downloader of what is described on the site as a "long lost B-Machina EP", now only available as this re-mastered internet release. Of course, it is clear from a glance at the accompanying (and rather stylish, it must be said) artwork that the old Bonemachine logo is prominently on display, rather than that of B-Machina, which makes sense given that both tracks were recorded between 2005 & 2008 at the W.A.R. Studio in Linz prior to re-mastering this year.

Personally Nazgul would call this a Bonemachine release, as the music is from that classic period and does not have the pervasive influence of Max running through it in the same way as modern B-Machina output. However, given the 2011 re-mastering and the fact that Hugin has chosen to put it under the project's current name, who is Nazgul to judge, hence both band names adorning the top of this post. It would certainly make sense to use the modern name (from a name-awareness perspective) if more recent B-Machina material is to be uploaded to this website in the future, so perhaps we should keep our eyes peeled and fingers crossed.

Both songs are available in good old fashioned digital format albeit in earlier recorded versions; 'Heimatleid' appears on a slew of early Bonemachine demos (it is certainly one of the more common Bonemachine songs across all of the project's releases), whilst 'Little Boy' was originally the subject of a very limited (14 copies) 3"CDr demo release before subsequently being made available again both on the "Erste Rotation Eine Retrospektive Von Krieg Und Zeit" and a self-titled tape demo through Depressive Illusions.

Of the two songs Nazgul's personal preference is 'Little Boy', which succeeds on a number of levels both musically and artistically, not least in getting the proverbial cast of thousands together to record their own individual pieces of narrative before electronically stitching it all back together as a cohesive whole. The aural equivalent of Sally from The Nightmare Before Christmas, really...

The Bandcamp site is a bit of a treasure trove for good quality downloads of cutting-edge music and other assorted nuggets. The joy is that although there is a minimum price identified for each album or song for sale, it is possible to pay more to support those artists you like best. On name-your-price albums, the site informs us, fans pay an average of 50% more than the minimum specified price, and in the last 30 days over $1m of proceeds have been paid over to artists. So why not put your hand in your pocket and put a few pennies Hugin's way this year, and support this worthy endeavour?

GONE [V/A]

2011-12-11T13:39:00.003Z

Band: WACH
Title: Gone [various artists]
Format: CDr release on the Apocalyptic Radio label (Germany), 2011, cat ref AR060. The disc sits within a paper sleeve, which is contained inside a card sleeve that is folded in on itself to form an envelope-type arrangement. The release also comes with a sticker advertising the label.
Edition: Limited to 66 hand-numbered copies

Track Listing.
01 N.Strahl.N * Nachtstück Nr. 16 8:23
02 Wach * Mind Control 3:46
03 Vronthor * Untitled 4:49
04 Vincenzo Bossi * Kadaver Lounge 8:46
05 TZii * Lux 7:22
06 Fleshcrawler * Bluten 8:18
07 Flutwacht * Untitled 9:29
08 Goghal * Untitled 8:39
09 Antracot * Rotting Flower 6:40
10 Ego Death * Nachtod Düsternis 5:40

Nazgul always approaches compilations of this sort with a sense of foreboding. Often an amalgamation of styles - Industrial, Power Electronics, Noise, Experimental, Weird and Wonderful - you never quite know what you're going to be subjected to, and for quite how long the 'entertainment' might last. Jumping into an Apocalyptic Radio compilation is an experience akin to walking into the bar scene in Star Wars: a slow pan across alien beings engaged in unfathomable activity.

In the midst of all of the peculiar recordings on this release lies a song called 'Mind Control' by none other than WACH, the project of Reverend Kim and Herr Insomnia. Now, we've gone a whole year without WACH making a dent in Honour and Darkness in any significant manner: the last full-length release "Experimentum Solaris" was reviewed back on 15 April 2010, and the promotional photo of the "Nordwand" EP was put up on 23 October 2010 in hopeful expectation of a release shortly afterwards (in actual fact, it has literally just been released as I type, although a copy has yet to find its way to Castle Nazgul). So let us rejoice for a short moment in the fact that WACH manage to get a post in calendar year 2011, albeit at the eleventh hour!

Hugin tells me that the track in question was recorded circa 2007 (there is no information on the packaging of the release itself), and also noted to Nazgul that he was unaware that Apocalyptic Radio had actually used the piece on this compilation. Tsk tsk, I know the release is a limited edition of 66 copies but you might imagine the artists themselves would have been sent a few promo copies at least? It makes you wonder quite how royalties might be calculated in these circumstances (cue hollow laughs in the background from recording artists worldwide...)

Back to the music. To Nazgul's ears the song sounded like - and continues to sound like - a B-Machina track rather than the sort of dreamy/doomy space ambient experimentalism that WACH has recently been known to indulge in. There is a distinctly B-Machina-like mechanical rhythm from the outset of the song that brings together a pulsating bass line with a mechanised beat before sampled pieces of narrative intersect the music. Nazgul couldn't identify the original recording of the samples, although he'd be willing to bet that Hugin will be quick to fill this information gap!

The track continues with an amalgam of static-tinged narrative and the same musical theme underpinning the song, until at the three and a half minute mark it fades into an ambient void punctuated suddenly at the conclusion of the song with another short sampled piece of narrative.

Clearly the time that this was recorded pre-dated some of the more spacey WACH recordings, which doubtless helps to explain some of the other influences at work on this song. What is rather refreshing is that it is relatively short and sweet, so does not outstay its welcome and leaves you willing to give it another spin to take it in again. This is more that can be said for some of the more lengthy pieces on this album, although to be fair it is a pleasantly listenable collection and it not as intimidating as some of these types of release can be (the "Skull The Stench" compilation in particular springs to mind here!)

Nazgul suspects that there's nothing much than we should infer from this song about the future direction of WACH given the relative age of the song and the difference in style to more modern recordings. Nevertheless, as a means of raising the profile of the project on a distinguished and critically acclaimed label this feels like a success story for the most part. Perhaps someone from the label might now be able to drop Hugin a copy of the blessed thing...?!

GORGOROTH (THE LAND OF DARKNESS)

2011-12-09T13:58:00.006Z

Band: URUK HAI
Title: Gorgoroth (The Land Of Darkness)
Format: 6CD box-set released in 2011 by the Tryby label (Poland), cat ref 08/2011. The set comes in hard cardboard box of around 5" square, and contains 6 separate discs with 2010 Uruk Hai demos that were previously tape-only releases. There are 3 postcards within the set, and a bespoke cover sticker on the face of the box.
Edition: Limited to 15 hand-numbered copies

Album Listing:
CD1. Black Orcish Blood
CD2. Ash Nazg...
CD3. The Lord Of The Rings
CD4. Wrath Of The Ring
CD5. Middle Earth Pt.I
CD6. Middle Earth Pt.II

Another year, another Uruk Hai compilation box-set on the Polish Tryby label. Back in January Nazgul had a little bit of a moan at the format of the "War Anthems" wooden box set released on this same label, and whilst some of the criticisms remain for this effort (would it really have been so much more work to house the discs in card replica sleeves of the original artwork rather than clear plastic wallets?) one can only doff one's cap to any label willing to invest money to get Hugin's music out into the wider world.

Not that there are many of these box-sets out there, it has to be said: only 15 hand-numbered examples were made (this is #12) and it would be reasonable to suppose that at this stage they are all sold-out, even at the 40-odd Euro price tag it came with.

What you get here are CD versions of 6 Uruk Hai demos from the 2010 period, all previously tape-only releases on the Wulfrune Worxx label. Despite the order of the discs in the set, the original tapes were issued in a slightly different order by Skogen's label, and (with catalogue reference and edition number in parentheses) were: "Ash Nazg..." (WW160, 77); "Lord Of The Rings" (WW162, 111); "Wrath Of The Ring" (WW163, 111); "Black Orcish Blood" (WW164, 66); "Middle-Earth Part I" (WW173, 66); and "Middle-Earth Part II" (WW174, 66).

All of these bar one have previously been reviewed on Honour and Darkness: the exception is "Middle -Earth Part II (The Outer Lands)", which will be gracing these pages soon. Incidentally, a fact perhaps not well known is that there are two further parts to Hugin's Middle-Earth series - yes, a Part III and a Part IV exist, and currently nestle within the confines of the Castle library awaiting a spin on the death-deck! What price a future "Middle Earth" CD compilation in its own right, one wonders...?

The thing that all of these releases have in common is that they form sprawling epic tracts of music, very much in keeping with this stylistic development undertaken by Uruk Hai as 2010 blossomed. With the exception of the recently reviewed "Nargothrond" and the occasional other release such as "The Barbarian", multi-song Uruk Hai demos were pretty scarce finds during the past 18 months or so. The long ambient adventure was the weapon of choice for Hugin in this period, and this compilation scores a bulls eye for putting them all together in an accessible digital format for those willing to undertake the journey.

A quick word on the title of the set: Gorgoroth (also called the Plateau of Gorgoroth) was a region in the northwestern part of Mordor in Middle-Earth. Gorgoroth, the 'Haunted Plains', stood at the heart of the dark lands of Mordor and was always covered in the volcanic ash of Mount Doom, hence plant growth at all lived there. The plateau was arid with extreme climates and was considered to be uninhabitable. "A desolate land, pocked with craters and fuming pits and riven with many deep crevasses. In the centre of the plain rose the smouldering cone of the volcano Orodruin" according to J.E.A. Tyler. During the War of the Ring, Gorgoroth was the location of mines and forges which supplied Mordor's armies with weapons and armor. The 'Complete Tolkien Companion' volume also tells us that 'Gorgoroth' meant 'Dreadful Horror' in the Sindarin or Grey-elven tongue.

For all of its small presentational flaws this still represents good value for money and is a worthy addition to the Uruk Hai discography for fans of the latter period of the band's prodigious output.

B-Machina stationery

2011-12-09T09:55:00.002Z

Band: B-MACHINA
Item: Band stationery!

What every well equipped castle library should have this season - branded B-Machina stationery!

Yes, a bizarre addition to the collection perhaps, but then again why shouldn't there be a line of Hugin-related stationery and desk products!? After all, we had the Uruk Hai 'Mystic Forest' mouse-mat some while ago (see post for 26 September 2009), whilst a range of coffee mugs have been a periodic feature of Honour and Darkness for many a year.

You can see it now: the branded Hrossharsgrani pencil sharpener; the Hrefnesholt combined letter opener and nasal-hair remover; the WACH paper clip ... it's a definite possibility!

However, back in the real world what we do have here are some B-Machina 'post-it' note style memo pads and a sheet of headed paper, both showing different but classic band logos. And very useful they are too.

All we need now is a Hugin calendar for 2012 and we'll be off and running. Hmmm, that might be an interesting project for Nazgul to sink his teeth into in the coming weeks...

NARGOTHROND

2011-12-08T11:52:00.004Z

Band: URUK HAI
Title: Nargothrond
Format: Cassette tape demo release on the Wulfrune Worxx label (France) in 2011, cat ref WW186. The songs are recordings from 2008, with the exception of the final track which dates to 2010. Standard Wulfrune Worxx format for this tape, with copied black and white inlay.
Edition: Hand-numbered and limited to 86 copies

Track Listing:
01. The Fellowship 3.14
02. The Ancient Tower (The Great Underground Fortress) 11.20
03. Nargothrond (Return To The Great Underground Fortress) 8.44
04. A Dragons Destiny 10.13
05. The Sound Of Nargothrond 5.13

That's some word to get the tongue around: "Nargthrond". Not to be confused with the Portuguese black metal band of the same name (who coincidentally had a song called 'Uruk Hai on their 1998 demo!), this reference is a location from Tolkien's realms, of course, and translated from the Sindarin tongue means "The great underground fortress on the river Narog".

Nargothrond was the stronghold built by Finrod Felagund and the realm of Nargothrond consisted of the underground city cut into the banks of the river Narog in Beleriand.

Inspired by Menegroth in Doriath, and seeking a hidden place from which to be safe from the forces of Morgoth, Finrod established the underground fortress of Nargothrond in the early years of the First Age, in the Caverns of Narog beneath the forested hills of Taur-en-Faroth on the river's western bank. The stronghold was carved into the rock beneath Taur-en-Faroth, and could only be approached by a narrow path along the high banks of the River Narog. No bridge was built across the river until late in its history. The lands to the north of the citadel were considered part of its realm, and the people of Nargothrond kept unceasing watch on the grasslands to the north, the Talath Dirnen or Guarded Plain.

The citadel long lay hidden from Morgoth, and was ruled wisely for long years by Finrod. After he was lost in the Quest of the Silmaril, his brother Orodreth expelled the usurping sons of Fëanor, Celegorm and Curufin, and was lord in Nargothrond. When Túrin dwelt in Nargothrond, he persuaded the Elves who dwelt there to change their long policy of secrecy, and openly attack the servants of Morgoth. So the Dark Lord discovered the city's location, and sent out an army under Glaurung to sack and destroy it.

The cover art of this demo shows the aftermath of the seige of 495, when the dragon Glaurung followed up his triumph in the Battle of Tumhalad by sacking Nargothrond, enslaving or slaying its people, making a bed of the treasure of the city and ruling as a Dragon-king. The illustration shows Glaurung presiding over a procession of bound Elven maidens being led away to an uncertain (but presumably unhappy) fate.

The image is taken from a Ted Nasmith illusation 'Finduilas is led past Turin at Nargothrond', which Nazgul has reproduced in its original colour version at the base of this post. The title of the piece comes from the time of the sack of Nargothrond: Gwindor was slain and died in the arms of Túrin, who he told to seek out Finduilas, saying that Finduilas lay between him and his doom. However, when Túrin arrived at the ruins of Nargothrond, he was bewitched by the dragon, and he could not respond to Finduilas' cries as she was dragged past him by the orcs of Morgoth as a slave for Angband.

So, that's the story of the cover - let's consider the musical content!

Firstly, it's wise to note that the songs were recorded in 2008 (bar one), which was a relatively quiet year for Uruk Hai releases. It principally saw a number of split releases: the "A Dark Force Shines Golden / Dreams of the Ancient Stone" (with Saltvind), "Nachtkrieg" (with Forgotten Land), and "Vereint Durch Die Kraft Uralter Wälder" (with Moloch). There was also the full-length "Lost Songs from Middle Earth" release, which incidentally Nazgul must do an update on soon as some interesting new details have come to light about that album.

The songs from the 2008 period were quite varied - 'Blood of Heroes' from "Nachtkrieg" was an early indication of the epic-length Uruk Hai recordings to come with its nigh-on half-hour running time. The split with Moloch introduced us to 'Gil-Galad' for the first time, with its upbeat and less oppressive tones, whilst "A Dark Force Shines Golden" gave us some classic Tolkien influenced works to savour. These previously unreleased recordings could, therefore, have followed any one of a number of routes.

Well, on pressing play you will be greeted with a familiar song in 'The Fellowship' - yes, this is an Uruk Hai song that we've heard before! In fact, it is 'Die Gemeinschaft' from the very limited edition tape "Lebenin" (and which also appears on the compilation "Ein Zeitzeichen von Lebenin") . And what's this - second song 'The Ancient Tower' is in fact the 'Der Turm' track from the "Zeitzeichen" split release with Draumar. Some familiar music to begin with, although given the rarity of the original releases (particularly "Lebenin", which came out in a miniscule edition of 6 tapes only) they are not exactly ubiquitous Uruk Hai songs!

Continuing the theme of things heard before, the fourth song 'A Dragon's Destiny' turns out to be our old friend 'Smaug's Destiny', previously encountered on the 2010 Wulfrune Worxx Split Series release "Dragon War" and another limited edition of only 66 copies. So something of a compilation theme going on here, Nazgul concludes sagely. Indeed, Hugin confirms this notes that the story of Nargothrond had in effect been split across a number of releases in 2009 and hence their repackaging onto one single demo.

Rounding out the tape come two previously unheard compositions; 'Nargothrond (return to the great underground fortress') being contemporary from 2008, the second 'The Sound Of Nargothrond' being a more recent piece from 2010. These two songs carry on in the fine form that Hugin has created elsewhere on the demo, and bring a combination of lush synths and haunting strongs to bear on what is a tragic tale of loss and anguish.

Unusual in the modern era of Uruk Hai for being a collection of short(ish) songs on a tape, rather than an epic sprawling track of thirty minutes duration, this demo works very well indeed and has been a frequent visitor to the Castle death-deck since arriving all those months ago.

SPERRGUT

2011-12-02T17:16:00.003Z

Band: BONEMACHINE
Title: Sperrgut (literally translated, 'bulky freight')
Format: Self-produced demo CDr from 2007 in a purple-tinted plastic wallet with a red title sticker on front (in the style of an industrial label) and a smaller red sticker on the reverse showing the edition number. The disc is a plain silver CDr disc with another small sticker on the non-playing side. There is no catalogue reference present on this demo.
Edition: Only 5 hand-numbered copies produced

Track Listing:
01. Sperrgut 64.25

There are two things, and two things only, that Nazgul recalls running for precisely 64 minutes and 25 seconds.

The first is the 1958 Mexican black and white classic 'The Robot vs. The Aztec Mummy' ('La Momia Azteca Contro El Robot Humano' to be precise) in which the walking Aztec mummy Popoca has returned, this time pitted against a mad scientist and his creation - the Human Robot - a cyborg with a mechanical body, steel claws and a human head! It's an absolute heap of garbage, of course, but oddly entertaining in that slightly paranoid manner that sci-fi films of that era tend to be.

The second thing with this exact duration is the Bonemachine demo "Sperrgut" - or to give it the name on the cover sticker, "Sperrgut Encombrant", the other word being the French equivalent for 'bulky' or 'cumbersome'.

The good news is that if it came to a head-to-head scrap this Bonemachine demo would certainly kick The Robot's candy-ass, and despite rumbling on for well over an hour it is both an engaging and actually very interesting release. It has to be said that it was yet another of Hugin's demos that came absolutely out of the blue - Nazgul had never even come across the vaguest reference to it prior to its arrival at Castle Nazgul within a recent parcel of Hugin-related goodies. Contained in a unassuming d-i-y style piece of packaging it doesn't look the most exciting of releases, but as the old adage is so right to tell us, 'never judge a book by it's cover'. In my estimation is actually one of the better Bonemachine demos that it's been my pleasure to hear, and trust me when I say that your old uncle Nazgul has heard a lot of 'em!

Despite its length, the principal asset of this demo is that it remains constantly interesting due to having distinct phases or parts within its construction. Readers of old will know that it's not the normal style of a Honour and Darkness post to attempt a dissection of a lengthy demo, particularly when composed of a single long song, but in this case a small exception is merited. There's a lot of effort that needs to be put into a lengthy composition to retain the listener's interest throughout, and in this regard Hugin has hit the nail squarely on the head with this release.

It starts out - oddly enough for a Bonemachine recording - with something quite musical! Following a brief mechanical introduction - a familiar sound of what could almost be the living, breathing heart of a machine - the next 10 minutes or so has some almost Depeche Mode elements going on within a keyboard landscape of melody and warmth. It's not 'heavy' per se, and not particularly industrial either, which if nothing else serves as a timely reminder not to try and pigeon-hole the Bonemachine sound. All barrels along nicely in this vein until the 11 minute mark, when the song moves away from sprightly-keyboard notes into a more industrially-ambient, pseudo-aquatic sounding phase. I say pseudo-aquatic in as far as there is that distinct feel of being in a large submerged object, with the building pressures and associated sounds of travelling deep into the abyss. It's genuinely quite spooky at times, too, and progresses for a further 15 minutes or so in an unsettlingly descending fashion (you have the distinct sensation of being slowly pulled further and further into the inky depths of the ocean) until a more mechanical resonance takes over.

As the piece develops the intrepid listener encounters increasing elements of repeating, mechanical and otherworldly sonic influences before the demo comes full circle again with another (unexpected) bout of keys at the end, along with some distorted and inhuman vocals from Alex (one presumes - either that, or he's press-ganged The Robot to do a cameo appearance!)

Nazgul is happy to admit he found all of this quite captivating, and even clocking in at over an hour in duration pressing the 'play' button straight after it's finished in order to hear it over once again is an easy choice to make. It's a claustrophobic sound at times, and takes the listener on a staggering journey through many and varied landscapes bourne out of nothing by Hugin's imagination...

"Sperrgut" joins the ranks of past Bonemachine releases such as "Burn Down Psychosis", and the untitled split tape with Novasek, in being utterly brilliant yet destined never to be widely heard, mostly because of the extreme limitation (5 copies, of which this is #1 of 5 and Hugin's personal copy before being ensnared inside the Castle library). Nazgul would be extremely surprised if any of the other 4 copies surface any time soon, but if you do have one then do get in touch. The sheer length of track would also be problematic in terms of uploading it to any file sharing system, or for including the song on a CD compilation. All of which is a great shame, as this really is a fine demo.

You'll just have to take Nazgul's word for it

MIDDLE-EARTH (PART I)

2011-11-24T18:15:00.003Z

Band: URUK HAI
Title: Middle-Earth (Part 1): The Hither Lands
Format: Cassette release on the Wulfrune Worxx label (France), cat ref WW173. The standard black and white photocopied inlays accompany this release. A later CDr pressing of this demo is only available in the "Gorgoroth" box-set (2011).
Edition: Hand-numbered edition of 66 copies

Track Listing:

Side A
01. The Hither Lands (part 1)
Side B
02. The Hither Lands (part 2)

A true story: On April 18, 1930, during what should have been a 6:30pm radio news bulletin, a BBC presenter announced "Good evening. Today is Good Friday. There is no news." It had been apparently judged that nothing newsworthy had happened. Piano music was then played instead of the current affairs update for a couple of minutes, before normal scheduling resumed.

Events of little or no consequence happen all of the time (although for a whole day of global affairs to fall into this category means that it must have truly been a stupendously dull day to have been on Planet Earth, except presumably for those being born or dying). For another example of events of little consequence, each December the Earth and sun align with the approximate center of the Milky Way Galaxy, but that is an annual event deemed to be of little importance in astronomical circles.

And, of course, consequence is relative - God is said to exist outside of time, so it is thus of no consequence to Him (although rather pressing to the rest of us).

All of which is a roundabout way of contemplating "Middle Earth Part 1 (The Hither Lands)" from everyone's favourite Austrian project, Uruk Hai. Now, whilst it's not at all bad in any way, it's not outstanding in any way either, and as a result becomes an inconsequential sort of demo that seemingly leaves little lasting impression once finished. In Nazgul's general experience such things lead to one of two avenues of action: (1) the album in question is filed quietly away, unlikley to be played again, or (2) it gets another spin with more attention to ensure that it's not being dismissed too early.

Of course, this being a demo from Hugin the only possible option is for repeat plays so back into the death-deck said demo went whilst Nazgul went about his daily routine (today's chores: exhaling the black breath onto the servants and planning a winter vacation to Minas Morgul). And, after repeated playback it has to be said that despite having all of the hallmarks of the Uruk Hai sound and being pleasant enough in nature, it still does come across as a little vapid in comparison to many of the bombastic and memorable Uruk Hai releases of the past. In a sense, it's a little like walking through the foothills on the way to enjoying the mountain scenery - perfectly respectable in context, but not quite in the same league as the lofty heights ahead.

Oh - and a word or two on the title as 'hither lands' is an unusual phrase, it has to be said. It transpires that the word 'hither' is an archaic part of the English language - derived appropriately enough from Middle English - and in essence means nearer, or close, or more specifically 'of a side or part (especially of a hill or valley). Originally Nazgul had wondered if it was a mis-spelling of 'hinterland' (the land directly adjacent to and inland from a coast), only because the more common use of the word 'hither' is in the context of giving someone a 'come-hither' look in an alluring or seductive manner. This brought to mind all sorts of odd images of doe-eyed Orcs milling around the Misty Mountains in search of passing hobbits to seduce, but happily it's nothing of the sort!

The cover is rather tasty though, with an erupting volcano spewing forth lava. This must have looked positively spectacular in its original colour version....

Overall, rather a transitional piece of music in the overall canon of Uruk Hai releases: It's typical of the lengthy, almost beyond-epic releases of this period (of which there were quite a number) and perhaps suggests that some rigourous self-editing should sit alongside the ever-flowing creative thinking that wafts almost daily from the bastions of W.A.R. in Austria. Then again, it could equally be argued that as a non-musician Nazgul should keep his opinions to himself and knows nothing of the dark arts of recording such things! The answer is probably somewhere in the middle, and goes to demostrate the high standards attained by Hugin through his releases as a whole when a demo as good as this one just fails to keep pace with those classic releases that have gone before.

REHEARSAL CD1 - update

2011-11-19T08:17:00.003Z

Band: HROSSHARSGRANI
Title: Rehearsal CD1
Reason for update: To show off the recently unearthed original colour artwork!

This private demo pressing (WAR008) was covered by Nazgul back on 23 February 2010, and at that time was received very well. The 4 tracks recorded were not intended for commercial sale, but as an item for close friends, which is why it remains a pretty obscure demo all round.

The curious amongst you may have occasionally wondered what some of the black and white photocopied covers of Hugin's many releases would have looked like in their original guise. Indeed, it had been mentioned in posts gone by that some (if not all) of Skogen's original covers on Wulfrune Worxx are in colour, which must make for a fabulous sight as the monochrome versions are often excellent.

Well, here's a rare opportunity: a chance to see the original construction used for this Hrossharsgrani CDr in all of its glory. The image below shows that the orginal photograph used on the back of the inlay was taken on 28 November 1999 (the details become unclear after photocopying) and that Hugin had signed the photo with his gold marker pen (this appears white on the copy).

More importantly, however, it shows the cover artwork in a much different and less harsh light: the black and white cover is very grainy by comparison, giving the fortification illustrated a harder, more evil edge (which - quite possibly - was the intention for the final image all along). The colour version, conversely, uses quite gentle watercolours and shades and to these eyes makes for a more dreamy image. Love those colours used in the sky around the top of the mountain, too. Try comparing the two covers below for yourself:

So there we have it, a rare Hrossharsgrani inlay booklet from circa 1999 deconstructed for your delight and fascination. As a final obervation, one assumption that it seems fair to make is how the home computer market has changed this process over the last decade. In the current age of powerful graphic design packages, enhanced processing power on even the cheapest laptop, and comparatively cheap colour printing it is presumably a more straightforward and affordable task to produce high-standard colour covers to accompany modern releases. Not so a decade or so ago, when hand-made collages of actual photos stuck on sheets of paper next to physical drawings or pieces of art were needed to knock out a demo cover. Food for thought.

Infernal War zine #13

2011-11-16T17:10:00.002Z

Band: URUK HAI
Item: Infernal War zine #13
Reason for entry: This particular issue has an Uruk Hai track on an accompanying free CD

Track Listing:
01. Watain * Malifeitor 6.58
02. Aborym * Psychogrotesque III 4.05
03. Typhus * My Throne Is In The Kingdom Of Hell 5.32
04. Uruk Hai * The Fall Of Gil-Galad 5.46
05. Blutmond * Working Poor, Yuppie Yeah! 3.55
06. Kozeljnik * Void To Final Consumption 7.25
07. Schammasch * Black But Shining 8.52
08. Ghost Kommando * Sail The Seas Of Denial 3.07
09. Scarcross * Der Fluss 8.35

Were you to revisit the Blog for 26 July 2011 you would find mention of Infernal War zine #12, principally for its inclusion of a then unreleased track from the Uruk Hai CD reissue of "In Durin's Halls (Return To The Mines Of Moria)". Who would have believed that the very next issue of this German-language zine would have featured yet another Uruk Hai song, this time 'The Fall of Gil-Galad' from the tape release "Gil-Galad (The Whole Story)".

Nazgul reviewed this Depressive Illusions tape release back on 5 March 2011 and one of the comments at the time was how frequently the Gil-Galad songs had come up on various releases in 2010 and 2011. Since that post, another two iterations containing relevant songs have arisen including this one, so it seems a fair conclusion that Gil-Galad is here to stay!

The song as previously described is nicely composed and very 'gentle' compared to the roaring thunder and fiery belches contained on other tracks on this compilation disc. A welcome change of pace to these ears, although an incongruous pairing to those as yet unfamiliar with the Uruk Hai modus operandi.

There's not much else to add in this brief update, save to note that there is an advertisement in this same zine that features both the reissued "In Durin's Halls" CD and the yet-to-be-released (at this time) "Cirith Ungol" demo from 2010. That latter release has now come out, and in a variety of interesting pressings too, so it's one to look forward to in a forthcoming episode of your favourite Hugin-themed blog...!

A.M.F. Productions > publicity material

2011-11-15T14:17:00.007Z

What's this then, Nazgul? It's a selection of promotional advertisements for a variety of Hugin's releases on the A.M.F. Productions label
Where did they appear? Mostly as flyers and inserts to packages in orders from the label to customers

Digging around in the Castle dungeons (as one does) Nazgul came across these fine images from Alexander Ivanov, erstwhile owner of the A.M.F. Productions label and all round splendid fellow.

Back in the early-mid 2000's many an Uruk Hai release would appear on this label - based in Sofia, Bulgaria - as demonstrated by the variety of flyers seen here.

Most were split releases, sometimes with a band indigenous to that part of the world, and some rather good demos were formed as a result. Notable bands on these split releases included Valar and Symbiosis The vast majority of releases were in tape format, with the one notable exception being the "Quenta Silmarillion" CDr release for which we had an update only recently.

There are some real 'old school' ambient classics on this label, not least the tape version of "A Night In The Forest" (shown above), which had a bonus song and thus differed from the CD pressing. And here's a little heads up for you - there's a new Uruk Hai boxed set on the way that will release on CD format a lot of these old mid-2000 demos including the formerly tape-only bonus tracks including this particular album: more of that another day!

A.M.F. also championed some of Hugin's other projects apart from Uruk Hai - the image above shows the Hrefnesholt split tape release "United By Heathen Blood", which featured Alexander's own project Bagatur alongside Italian ambient artist Symbiosis.

There is a proud legacy of releases on this label that chart and define the early development of the Uruk Hai sound, and having so many of these original releases in the collection is a real joy and pleasure for Nazgul.

Nazgul's thanks for the images in this post go, of course, to Alexander himself, who was kind enough to send them over to Castle Nazgul to keep in the archives.

DOOMED TO DIE

2011-11-15T09:49:00.004Z

Band: Nachtfalke
Title: Doomed to Die
Format: Full-length CD release on the Christhunt Productions label (Germany) in 2002, no catalogue reference. Full colour inlays, matt black disc. This was also released as a picture disc vinyl album on the same label.

Track Listing:
01. Valhalla 05:16
02. Pestkrieg 07:06
03. One Home of Once Brave (Bathory cover) 06:51
04. Fallen Heroes 07:42
05. Einherjer (Doomed to Die) 08:04

Almost exactly one year ago (12 December 2010) we visited the "Land Of Frost" by German horde Nachtfalke to discover that our prolific friend Hugin had contributed lyrics to the project as well as one instrumental track, 'The Windlords'. That release was from 2003, and was Nachtfalke's third full-length album. Preceding it was "Doomed To Die" in 2002, notable in this anthology of all things Hugin for the fact that of the five songs all bar one had the lyrics written by our Austrian maestro for performance by Occulta Mors. This appears to be a little known fact, but is fully acknowledged in the credits to the inlay in both the 'hails and thanks' list and under the printed lyrics themselves.

"Doomed To Die" was - and remains - a well-regarded album in its genre, as the following online review from Metal Archives gives you a flavour of:

"Sometimes I wish all Viking based metal was this awesome. Sure your more death metal based bands like Amon Amarth are also great for headbanging to, but when it comes to Black Metal that is based on nordic paganism it is often a rather disappointing affair. The use of folky melodies is something that fits well into the more light metal genres, but the pure energy and raw quality of this album make [probably] the best album in the viking-subsection of black metal. Lyrics on the album are great as well. Sure the whole Viking thing can get cheesy, but the lyrics here are about as tasteful as you will get and the backing music really lends the lyrics the intense background and fury that is needed to make them effective.

"Doomed to Die" is a very solid album and does well to preserve the legacy of Moonblood as well as to further establish Nachtfalke's sound. There is a good balance between the original songwriting style of Occulta Mors and the strong Bathory influence, even working a cover song into the mix without sacrificing the flow of the album. All of the songs work well together to create a cohesive album, rather than a mere collection of songs."

And so, to complete this update of one more of Hugin's contributions to the musical canon, here are those lyrics in full:

Valhalla
Beneath the Mountain's arm
Within the wizard's vale
A great ring-wall of stone
Like towering cliffs
Stood out from the shelter
Of the mountain side
Through years uncounted
Had stood that ancient place
That man called Valhall
Welcome, my lords, to Valhall...
From the north we came
To a battle we ride
Hold high our hand
With Odin on my side
With axes of steel
And bloodred swords
Killing the enemies
In the name of the Gods
Valhalla - open the gates
Valhalla - home of the Gods
Valhalla - open the gates
Valhalla - A warrior's dream
The skyline's in flames
By the power of Thor
The hammer crushes down
Our victory is near
With power and might
Warriors of steel
Hallowed by the fight
Valhalla is near
Valhalla - open the gates
Valhalla - home of the Gods
Valhalla - open the gates
Valhalla - power and might

Pestkrieg

For blood and honour we fight
In hundreds of battles we stand
Mjolnir the hammer is on our side
Swing our swords and raise our hands
When Hel comes to earth
Goddess of suffer and dead
She will open the gates
Unleash the underworld
Triumph or death - Pestkrieg!
War in northland - Pestkrieg!
Triumph or death - Pestkrieg!
Death of the Gods - Pestkrieg!
Cross the river of death
We stand and fight till we die
On ancient shores of all evil
We raise again our swords

Fallen Heroes

Great battles under the north star
Fighting for honour and blood
With iron will under the sun wheel
Hallowed be the fight
Remember the fallen heroes
It's a fine day to die
Heroism in the blitzkrieg
Baptized with flesh and steel
Bounded by the sun wheel
Hallowed be the war
Remember the fallen heroes
It's a fine day to die
Marching through the ruins
Hold high our right hands
Killing under the sun wheel
Hallowed be the death
Remember the fallen heroes
It's a fine day to die

Einherjer (Doomed to Die)

Open - the gates of Valhall
Under - the sign of Odin's eye
Long - swords of black steel
Einherjer - dark faceless horsemen
Riders - with the power of evil
Shadows - black like the night
Poisoned - the weapons of hate
Einherjer - warrior's from Asgard
Fight immortal men - doomed to die
Fight dark riders - doomed to die
Fight out of Hel - doomed to die
Fight Einherjer - doomed to die
Fire - the earth freezes over
Night - conquering the lands
Evil - throne of the dark lord
Einherjer - creatures of war
Demons - from the old world
Eternal - the greed of death
Undead - ghosts of Mirkwood
Einherjer - kill, fight and die
Fight immortal men - doomed to die
Fight dark riders - doomed to die
Fight out of Hel - doomed to die
Fight Einherjer - doomed to die

EINE SELTSAME REISE DURCH DIE NACHT

2011-11-12T11:57:00.005Z

Name: B-MACHINA
Title: Eine Seltsame Reise Durch Die Nacht ('A Strange Trip Through The Night')
Format: 5" CDr released in 2008 on Hugin's own W.A.R. Productions label (no catalogue reference). This version has the disc in a black paper envelope, sandwiched between various colour card inserts and housed in a clear plastic wallet. A business card size inlay accompanies the disc and shows the edition number. There is also an 'ultra-limited edition' version of this release, which came with a bonus white t-shirt.
Edition: 44 hand-numbered copies, of which the first 5 constitute the die-hard version.

Track Listing:

01. Eine Seltsame Reise Durch Die Nacht 79.55

"What a long, strange trip it's been", Robert Hunter (of Grateful Dead fame) once said, and whilst he wasn't residing on Planet B-Machina at the time (and very probably wasn't entirely fully resident on Planet Earth at the time either, come to think of it) it's a fitting sort of introduction to this accomplished yet indescribable B-Machina release.

One of Hugin's own releases, and done at around that time when the format for W.A.R. Productions CDs was becoming consistent in its use of postcards, magnets and business card inlays (see also, for example, Ceremony of Innocence and other B-Machina releases of this period). Some of the larger cards advertise contemporary B-Machina releases, whilst some promote the band itself. Present on this release is Max, who you will remember adds a flourish of acoustic guitar to the otherwise predominantly industrial machinations of the band's music (and Nazgul uses that word in its broadest context!).

Now, with the best will in the world Nazgul isn't going to sit down and try to explain every boom, whoop and whallop that this nigh-on 80 minute demo presents to the listener. Not only would you be utterly fed up with him trying to do so, it's an almost impossible task given the sheer scale of the piece and it's peculiarities of sound and structure. It's hard enough putting congent thoughts down about 4 or 5 minute B-Machina tracks, let alone a magnum opus like this. Is it any good, you might reasonably ask - well, yes, it is but let's be honest: you do have to be in the mood for this sort of endeavour (or be prepared to have it wafting around in the background like some strange subliminal experiment) as it's hardly the sort of music that you'll be humming along to. The sheer length of the piece makes it a rather intimidating experience too - it is a long, strange trip when all is said and done, so in terms of fulfilling the brief in the title you can't fault the chaps on this one.

Nazgul had held back from posting this release on Honour and Darkness as it was until very recently the only B-Machina/Bonemachine item left in his collection that remained unreviewed. In the last month or so, however, no less than 4 new items have been identified and gathered into the Castle library (something of a miraculous volume given the paucity of remaining items left out there to find) so that's good news all round! One of these 4 items is a controversial release that will stir up some arguments and debate previously voiced on these pages, so keep your eyes peeled for that one...

All of which leads us to Nazgul's trivia question for the day: what is white, has one eye, and accelerates to 81mph (130kph) in approximately 1.8 seconds to a maximum height of 207ft (63m) whilst pulling 4.7G? You're baffled, you say?

Why, it's a B-Machina 'Eine Seltsame Reise Durch Die Nacht' t-shirt on the UK's fastest and tallest launch roller-coaster of course, as modelled so elegantly below by Nazgul whilst sitting alongside the charming Mrs Nazgul

ELISABETHA promotional CDr discs

2011-11-09T18:24:00.003Z

Band: ELISABETHA
Items: A collection of CDr discs with samples and snippets for various releases by this project
Format: Silver CDr discs, some in bespoke paper sleeves with band logo, others hand-written and in plain cases.
Edition: Presumed to be one-off items as they were never intended for commercial release

One of the unique properties of the Elisabetha recording output was the blending of narration and sound effects together with black metal and neo-classical music, thus literally creating a story (often likened to a play acted out on the radio) with ferocious or genteel musical accompaniment. Classic albums in this vein include the debut "Durst Nach Unsterblichkeit" and "Demeter" with a Dracula theme, and more recently "Über das Prinzip der Unschuld" which takes its inspiration from the works of Edgar Allan Poe.

The group of discs illustrated above form part of Nazgul's collection and cover a variety of these older albums. Many contain just a few minutes of sampled dialogue or sound effects, whilst the odd one will have a particular song - a good example being the cover of the Countess track 'The Priest Must Die' that appeared on the 2003 release "Vampyr".

You can imagine the unholy triumvirate of original members swapping these back and forth between themselves as the early albums were created, and in latter years the vocal parts of Seigor being laid down in this manner for inclusion on the final album.

Contents of the discs include samples for the tracks 'Morella', 'Lucy', 'Ein Traum In Einem Traum'; early 2003 snippets for 'Huren Dracula's' and 'Einleitung' and text passages for 'Zuruckgewonnene Jugend'.

With little opportunity to have Elisabetha items on the blog due to the largely dormant nature of the project this might be the last post from this band for a while, so make the most of it!

ODIUM RECORDS PROMO COMPILATION [V/A]

2011-11-08T21:22:00.004Z

Band: URUK HAI
Title: Odium Records Promo Compilation
Format: Silver compilation CDr in a black and white photocopied sleeve released by Odium Records (UK) circa 2003. Released directly from the label and/or accompanying a copy of its infamous Depravity zine. Unusually, the inlay opens up to the left as one looks at the cover, e.g. in left-handed format.
Edition: unknown

Track Listing:

01. Odium * no title (from the "Blood" demo, 1998)
02. Anubi * Menuilio Paslaptis (from the "God's Pantheon" demo, 1993)
03. Odium * Dreams (from the "Hatred" demo, 1999-2000)
04. Meressin * When the candle's already lighted (from the demo "Satan, oro te, reo portas patere", 1994)
05. Uruk Hai * Seelenwarderung (from the "Elbentanz" demo, 2000)
06. October * no title (from the "October" demo, 1998-2003)
07. Excarnation * Excarnation (from their self-titled demo, 2002)
08. Soman * Attack, Attack, Attack! (from the demo "N-Stoff", 2003)

From the scabious and underworldly realms of Philip Knight's Odium Rex label comes another filth-covered abomination, compiling a number of bands released by the label over the period 1993 to 2003. As ever, an eclectic range of music is on offer ranging from the nascent primal ambient tones of Odium (the band, Mr Knight's own weird and wonderful creation), Uruk Hai, Anubi and October (another midget-fuelled Knight project) to more 'in-yer-face' outings full of piss and bile from the likes of Excarnation and Soman.

Some of these bands have appeared on other Odium compilation CDrs and one has a sad story unfolding around it: the Lithuanian band Anubi split-up when in March 2002 the main driving force behind the horde - Lord Ominous - died in a sailing accident on Lake Michigan. Also featured and from Lithuanian are Meressin, and are fairly accurately described in one online review as, "fitting much better in the same fold as the older (90's era) thrash/heavy metal bands (Celtic Frost comes to mind at times when listening to Meressin), although you can sense a black metal "atmosphere" hanging over the music".

Excarnation prove to be a noisy bunch from Warwickshire in the UK. The name of the band refers to the burial practice adopted by some societies of removing the flesh of the dead, leaving only the bones, which is wholly appropriate as the music could flay skin at 50 paces. Never say Honour and Darkness isn't educational as well as entertaining. Final band Soman is a mystery to Nazgul, as apart from being Italian (and just as noisy as Excarnation) there is little else I can tell you about them, other than prolonged exposure to their music is probably sufficient to remove moss from walls and would be a fool-proof way to rid yourself of unwanted neighbours.

The reason for the existence of this collection in Castle Nazgul is of course the presence of the mighty Uruk Hai at track 5, with the final track from their 2000 demo "Elbentanz", which clocks in at over seven and a half minutes in length and is easily the longest song on this collection. Reviews of "Elbentanz" have ranged from fair to scathing online, but you know what: this is something of a quaint release when viewed alongside more recent Uruk Hai demos, and still very listenable even today. Sure it's a basic keyboard track, but it's competent and has a good strong melody to it, so what's not to like? The really old Uruk Hai material is still worth tracking down even to this day (some 12-13 years after its original release) as it charts, if nothing else, the journey that the project has been on over the past decade or so.

The inlay gives some interesting information about the various demo releases that these tracks are drawn from, including the information that the "Elbentanz" demo is issued in an unlimited pressing, which is contrary to the original plan of 100 copies that we saw recently on the artwork for the promotional version of the demo designed by Hugin.

Guaranteed not to be found anywhere soon, this is another interesting collection from Odium and even now gets the occasional airing at Castle Nazgul.

BLACK BLOOD WHITE HAND > photo session

2011-11-07T16:02:00.006Z

Band: URUK HAI
Title: Black Blood White Hand
Reason for update: Previously unseen pictures from the album photo session of 2010

Housed in a nice bespoke paper sleeve as shown above, this is another one of those unique items that Hugn has kindly graced the Castle library with. It is a CDr of a variety of photographs that formed part of the 2010 session to shoot the cover and inlay artwork for the epic "Black Blood White Hand" release.

The pictures that you see are not on the final digipak artwork in these versions, so form something of a special collection that - as far as Nazgul is aware - is probably only available to see on Honour and Darkness!

They feature, of course, the lovely Lucifera, model and all round nymphette of the woods. More famously known for her work appearing on other black metal releases, one hopes that her presence on the more ambient work of Hugin's Uruk Hai will have been a welcome release from the black leather and darkness of the likes of Dimmu Borgir's album covers!

There were plenty of images on this disc, but in order to keep this post to a manageable length Nazgul has chosen some of his favourites. For those keeping track, other session photos of Lucifera in white adorned the front cover and rear inlay tray artwork of the digipak, whilst the photos of her in purple below were part of the shoot for the picture disc CD itself. The photo in burgundy at the top of the post was part of the session that did not end up on the album at all.

If you ever wondered what an album could have looked like with alternative artwork or photos in place, then wonder no longer, for here is the perfect way to visualise the potential outcome!

Hugin's 'devil horns'

2011-11-05T08:21:00.001Z

What the devil is that, Nazgul? Why, it's a piece of original piece of artwork from Hugin!
Where did it come from? The fevered mind of our favourite Austrian musician
Where does it live? On the library wall, in Castle Nazgul

Something a little different in this post - a piece of hand-painted artwork from the apparently mutli-talented hand of Hugin. Crafted during a lull from creating demos as a gift to his old pal Nazgul, this picture portrays the 'devil horn' motif, which is worthy of a little explanation. Traditionally some people hold that when confronted with unfortunate events, or just when these are mentioned or suggested, a person wanting to avoid that fate could resort to the sign of the horns to ward off bad luck (think of it as a more vulgar equivalent of knocking on wood).

It's become a popular gesture in rock music, particularly in the metal genre, but the history of its use in this context dates back longer than you might imagine. It was the 1969 back album cover for "Witchcraft Destroys Minds & Reaps Souls" by Chicago-based psychedelic-occult rock band Coven where band members are shown giving the "sign of the horns" correctly, and the album included a Black Mass poster showing members at a ritual making the sign. Starting in early 1968, Coven concerts always began and ended giving the sign on stage. Funnily enough the band also recorded a song called "Black Sabbath" on their 1969 album, and one of the band members is named Oz Osborne - not to be confused with Ozzy Osbourne of Black Sabbath infamy!

In popular music, the cover of The Beatles' 1969 "Yellow Submarine" album has the cartoon of John Lennon's right hand is making the sign above Paul McCartney's head. For many fans, this was one of the many 'Paul is dead' clues although many think it is possible that the cartoonist misrepresented the sign for "I love you", which is very similar and more in keeping with the band's public message and image. However, this 1969 cartoon is based on many photos of John Lennon making the hand sign in 1967, pre-dating even Coven in that respect!

Beginning in the early 1970s, the horns were known to some as the "P-Funk sign" to fans of Parliament-Funkadelic. It was used by George Clinton and Bootsy Collins as the password to the 'Mothership', a central element in Parliament's science-fiction mythology, and fans used it in return to show their enthusiasm for the band. Collins is depicted showing the P-Funk sign on the cover of his 1977 album "Ahh... The Name Is Bootsy, Baby!" Frank Zappa can also be seen making the gesture in the 1977 film Baby Snakes.

It has a variety of meanings in heavy metal sub-cultures, where it is known by a variety of terms, most commonly 'maloik', 'metal sign', 'horns' or 'metal horns', among others. A 1985 article in US magazine Circus states that Gene Simmons of Kiss was influenced by Blackie Lawless of W.A.S.P. in 1977 after watching Sister perform in Los Angeles. Blackie had come across a hand salute known as the corna in an occult book and had started using it during live performances. Simmons appears to be making the sign with his left hand on the cover of the 1977 Kiss album Love Gun. Simmons has later claimed - noticeably in the special features segment 'Satan's Top 40' in the movie "Little Nicky" - that he plays his bass with his plectrum in his middle two fingers so when he raises his hand, he automatically draws the horns.

The late, great Ronnie James Dio was known for popularizing the sign of the horns in heavy metal. His Italian grandmother used it to ward off the evil eye and Dio began using the sign soon after joining Black Sabbath in 1979. The previous singer - the immortal Ozzy Osbourne - was well known for using the "peace" sign at concerts, raising the index and middle finger in the form of a 'V'. Dio, in an attempt to connect with the fans, wanted to similarly use a hand gesture but not wanting to copy Ozzy he chose to use the sign his grandmother always made. The horns became famous in metal concerts very soon after Black Sabbath's first tour with Dio and the sign was later appropriated by heavy metal fans under the name "maloik", a corruption of the original term 'malocchio'.

However, Geezer Butler of Black Sabbath can be seen "raising the horns" in a photograph taken in 1971. This would indicate that the "horns" and their association with metal occurred much earlier than either Gene Simmons or Ronnie James Dio suggests (the photograph is included in the CD booklet of the Symptom of the Universe: The Original Black Sabbath 1970–1978 compilation album).

Whatever the derivation, the horns essentially signify that one should 'rock on', so here's to many more years of Hugin doing just that!

QUENTA SILMARILLION - update

2011-11-03T21:43:00.010Z

Band: URUK HAI
Title: Quenta Silmarillion
Reason for update: Cassette re-issues of this long-deleted demo. There are effectively two versions of the reissue, both coming out in 2010: The first is a limited edition tape on Hexenreich Records (Estonia), cat ref HXNRCH027, with the full demo on both sides in a two-sided colour-inlay. The second version splits the song in to two parts, and was issued as part of the Split Series on Wulfrune Worxx (France) with 'Part 1' (cat ref WW98) backed with Hrefnesholt's "Fuchtelmandl" and 'Part 2' (cat ref WW100) backed with Hrefnesholt's "Dunklmoos" demo.

Edition: Hexenreich tape limited to hand-numbered 50 copies. The Wulfrune Worxx tapes came in edition of 66 hand-numbered copies each.

Although this release has been covered historically in Honour and Darkness the actual meaning of the title has not been discussed, so let's immediately put that particular issue to rest.

'Quenta Silmarillion' literally means 'Tale of the Silmarils' and is the third part of The Silmarillion by J.R.R. Tolkien (the longest part in the book, consisting of more than twenty chapters). Quenta Silmarillion deals with the history of Arda following the entrance of the Ainur as the Valar. The initial shape of Arda, chosen by the Valar, was of a symmetrical continent lit by two lamps: one in the continent's north, and one in the south. However the lamps were destroyed by the vicious Melkor. Arda was again darkened, and the lamps' fall spoiled the perfect symmetry of Arda's surface. Two main continents were created that are of concern to the story: Aman on the far West, and Middle-earth to the East, over the Great Ocean.

Following this, Melkor hid himself from the Valar in an enormous fortress, Utumno. He also surrounded himself with horrible beasts, many of them Maiar in the form of fell animals, known as Balrogs. Balrogs were to remain his most faithful servants and soldiers ever after. The Valar then made for themselves a home at the utmost West, upon Aman. Then the Valar began to reshape Arda yet again, making it habitable and preparing it for the coming of the Children of Ilúvatar: Elves and Men. However everywhere they went, Melkor followed them spoiling the fruit of their labour and damaging their achievements. Thus, the whole Arda was marred by Melkor's anger, envy and lust of power.

Utumno did not protect Melkor, however. He was taken prisoner and sentenced to three ages (about 9,000 years) of imprisonment. Utumno was laid bare; but all its evil was not destroyed. Before Melkor was taken captive, Arda witnessed the Awakening of the Elves, the first-born Children of Ilùvatar. Elves are described as anthropomorphic beings, who, however, are immortal and possess many virtues (beauty, health, ability to communicate with nature), beyond the share of Men. The Elves were met by the Valar and invited to join them in the West; however Melkor managed to reach some of the Elves even earlier. It is said that from them he bred the hideous race of Orcs whom both he and his follower Sauron used as soldiers.

At some time between the imprisonment of Melkor and his release, the Valar created the Two Trees, Laurelin and Telperion, which filled Arda with light. There arose a mighty Elf among the house of Noldor, named Fëanor. Fëanor was skilled in crafts and his greatest achievement has been the making of three wonderful jewels, the Silmarils. The Silmarils contained the light of the Two Trees of Valinor (as the land of the Valar was known). By that time Melkor's captivity was over but through a vicious design he managed to destroy the Two Trees and to steal the Silmarils. Then he fled eastward, to the Middle-earth pursued by the furious Fëanor.

One Silmaril became a bright star; a second Silmaril was sunk in the water of the Great Ocean, and the third was lost in the depths of the Earth. Thus no trace remained on Middle-earth of the Two Trees of Valinor; but their influence lived on in the elements: air, water and fire/earth.

Given that history, you can see how the final demo became a pretty lengthy piece of music! However, the origin of the 'Quenta Silmarillion' release is also convoluted as past posts have alluded to. There exists an instrumental with a similar name as the final song on the "Lieder Aus Mittelerde" tape (the 4.26 version 'Quenta Silmarillion (Outro)' version) but also a 44.18 version which was on the self-titled "Hrossharsgrani" demo tape , both recorded in 1999. This version was extended to 61.13 in a third iteration of the piece on the demo "Ea", although these two longer versions never actually made it onto a 'proper' release as such, since both the self-titled release and "Ea" were one-off versions recorded for Hugin's friends only.

The track finally was issued to the public on CDr by AMF Productions as an Uruk Hai song - advertised in fact as "Pagan ambient with a deep and mystic atmopshere - the first ever Uruk Hai rehearsal session" recorded between 21-27 September 1999 - and had become an epic 78.39 track. For listeners keen on well-crafted ambient soundscapes (and Nazgul would have to assume that is you, gentle reader, as you've taken the time to get this far) then musically this demo should be right up your street. Effectively out of print at AMF for years (some CDr copies very occasionally surface, at a rate of about 1 every 5 years!) the very welcome reissue on two labels gives an excellent opportunity for the Uruk Hai fan to finally get his or her ears around the piece.

The Hexenreich version is now sold-out at the label, so the two parts on Wulfrune Worxx are your most likely source for this release (and you'll definitely benefit from the fact you'll get a Hrefnesholt demo on the reverse side too) and your best starting point to buy one would be Hugin's Uruk Hai Facebook page.

Incidentally, Nazgul apologises for the quality of the photo for the Hexenreich edition - on unfolding the inlay for the photographs the paper tore straight up the centre and proved to be as thin and delicate as tracing paper! The inlay is therefore literally held together at the bottom for the picture to be taken, and is consequently not the best image ever displayed on Honour and Darkness! The inlay is signed in gold pen on one side by Hugin, and on the other shows wording from Tolkien's novel. The lush green colours of the inlay work very nicely in fact, and despite Nazgul's ham-fisted attempts to destroy it still look very evocative.

Nazgul's Top 10 Hrossharsgrani cover art

2011-10-31T09:29:00.013Z

As it's the end of yet another month here on Honour and Darkness, Nazgul thought he would celebrate the passing of October with another one of his infamous Top 10 lists. These always provide Nazgul with yet another feeble excuse to have a rummage through his collection, but hopefully entertain at the same time.

Todays list is based around Nazgul's favourite Hrossharsgrani album and demo covers. Now, in saying that they are my favourite does not necessarily mean that they are the best covers in purely artistic terms. If the list included the definitive range of technically expert covers, then we might be looking at inclusions from releases which were professionally done. However, Nazgul being the 'square peg in round hole' sort of chap that he is often prefers the more abstract, unusual or not-so-obvious cover illustration and as such this list is a personal compilation of the pictures that I find most entertaining.
You will doubtless disagree, and may indeed end up fuming that your favourite cover was omitted ("how could Nazgul have not included %$&^....!!!") or consider that the top ten choices are just plain crazy ("why has Nazgul included ^£"%....??!"). Well, that's the way the cookie crumbles, of course, and if you'd like to send Nazgul your personal list of favourites then perhaps that could lead to an updated post in a few months time....

Anyway, enough of the rambling and onto the list, presented here in traditional reverse order:

10. Ea
Almost certainly adapted/adopted from something else, this is nonetheless a splendid piece of Celtic-tinged battle artwork for this one-off demo CDr that Hugin put together for a friend many moons ago. The reverse artwork is also strikingly effective.
9. The Secret Fire
Taking us straight into the hidden volcanic depths of Mount Doom, the stricking cover of "The Secret Fire" shows the forging of the One Ring amidst a suitable array of sparks, molten metal and Tolkien imagery. Dark and menacing, yet laden with symbolism for any fan of Middle-Earth to pick up on.

8. Blut (tape re-issue)

This was one of the earlier Hross' tape demos that Nazgul came across, and whilst its cover is best described as weird it does have a certain striking nature that's difficult to forget. What fate awaits the unfortunate damson in distress? Is she, in fact, in distress or merely biding her time before losing off a salvo of magical fire to burn her supposed captors into ash...?

7. Urd

Aah, "Urd". When Nazgul finally gets around to doing the post on this one-off promotional item the story of what Urd actually means will doubtless emerge. Until then, let's revel in the hand-drawn design of a rampaging dragon on the loose across the spiny mountains of your deepest imagination. Colourful, memorable and in the classic design-school of early Hrossharsgrani work...

6. Der Pfad Tor Der Toten (original CDr pressing)

...which leads us rather cunningly to number 6 on our list, and the original 1999 CDr cover for another epic demo outing. There's something enticing yet ominous about this particular mountain range, the freakishly elongated spires and cavernous valleys combining to produce an almost surreal landscape.

5. The Secret Fire (vinyl)

The sole vinyl release bearing the Hrossharsgrani name also happens to have one of the most dramatic images in the band's back catalogue. The split 12" with Mittwinter is a particularly fine picture disc, and whilst the Mittwinter side is a rather drab affair (a photograph of a cowled figure looking down past some ancient stoneworks), the Hrossharsgrani side is a vividly painted display based on the John Howe painting, 'The Death of Smaug'. It has to be said that at this stage Smaug seems to be very much in the ascendency rather than in his death-throes, but what the heck.

4. Of Battles, Ravens and Fire (CD 1st pressing)

Two versions of the CD art for this release exist, and a few more grace the tape reissues on Depressive Illusions and Wulfrune Worxx. For Nazgul, however, the original is the one of choice, featuring as it does a mighty scene of Norse splendour akin to Peter Nicolai Arbo's 'Åsgårdsreien' painting of 1872 that was used by Quorthon on the Bathory release "Blood, Fire, Death".

3. The Long Grey Road (3" CDr pressing)

The original tape release of "The Long Grey Road" used as its cover image, well, a long grey road. Quite subtle, I think you'd have to agree. The CDr reissue - on a natty 3" disc - is an entirely diffferent kettle of fish, however, and bears the epic sight of a tri-masted Elven ship sailing off into the distance. The colours, the image, the rare sight of the sea on Hugin's covers, all combine to make this a most memorable image.

2. Blut/Sanguis tape

Yes, it's the wolf! An absolutely belting cover image, dripping blood at every turn and ranking amongst the most effective of all Hugin's artwork, and used on the cover of the one-off tape Blut/Sanguis in its unique red case. This image was so good that it was also turned into a numbered in blood t-shirt as you may remember, and over the years the striking nature of the image increases in my estimation. Definitely a good 'un!

1. Fimbulwinter

I know what you were thinking: well, it must be a clear walkover for the cover of "Rising Sun" featuring Hugin and The Animals in glorious (dis)harmony. Of perhaps the favourite cover is the blacker than a coal-black black thing release that was "Ewig Winter". Well no, here we are at the top of the tree and Nazgul's favourite piece of Hrossharsgrani cover art turns out to be the one-off cover for the 3"CDr release of "Fimbulwinter". The crisp white snow, the blood red river, the imagery stands out like a barbarian at a bar mitzvah and makes this another no brainer for a future t-shirt design.

ELBENTANZ promotional version

2011-10-29T15:45:00.007+01:00

Band: URUK HAI
Title: Elbentanz
Reason for update: Full promotional CDr version of this demo on Odium Records, in different artwork to the final version released by the label in 2003.

If Charles Dickens were alive today and admiring the prodigious musical output of Hugin, one thing that he might have been likely to comment upon is the additional evidence for his theory of evolution as demonstrated in the early releases of Uruk Hai.

Take "Elbentanz" from 2003, for example. When reviewed in this blog back on 3 October 2009 it was shown in all of its glory with the 'old man in the tree' artwork (which could possibly be a representation of Old Man Willow from the Old Forest in Middle Earth, though this isn't certain).

You may also remember we had an update to this post on 02/01/10 where an alternative cover for the release was supplied from W.A.R. to Castle Nazgul, showing a black and white cover with misty forest imagery. That second cover also evolved for use on the 2001 demo "Stahlzeit", identical apart from its colour: "Stahlzeit" using a rather nice blue paper, "Elbentanz" black and white. "Stahlzeit" itself was a odd evolution of Bonemachine songs under the Uruk Hai flag (the post of 3 June 2011 refers to this in more detail).

All of which we've covered before, hence you wondering what the point of Nazgul's current ramblings are. Well, the point is this - Hugin has recently unearthed a rare promotional version of Elbentanz from 2003, which brings together the elements mentioned above. It has the same inlay booklet artwork front and back as "Stahlzeit", although the wording on the rear cover is different as the "Elbentanz" version shows the contact details for Phil Knight's Odium label and the "Stahlzeit" version has the 2 track details of that release.

The rear jewel case inlay is wholly different, however, and shows a clear 'promo' designation in the top left-hand corner against the limitation of 100 copies, and the full track listing on the reverse. This was, one must assume, the intended final full cover artwork for "Elbentanz" but at some point prior to release Odium (presumably) decided to do the colour cover with the wholly different imagery that became the actual version.

This final version also came in a slimline jewel-case as it had no rear jewel-case inlay, but did have a double-sided colour cover. The promo cover is unprinted and remains plain on the inside.

So there, as Dickens would say, we have it. The evolution of the "Stahlzeit" cover into a hybrid, yet undeniably, related "Elbentanz" promotional cover, followed by a major dip into the gene pool and the emergence of a totally different version for final publication. This adaptation to its surroundings marks out the final artwork as the strongest of the species and is, on balance, a nicely crafted cover that gives the end product a unique look.

And here are the three releases in question:

COLD SWEAT

2011-10-27T20:50:00.004+01:00

Band: ATOMKRAFT
Title: Cold Sweat
Reason for inclusion: Whilst not a project of Hugin's, our Austrian friend's label issued this CD single on W.A.R. (cat ref W.A.R. 067 / torkyn) on 23 June, 2011, and Alex also directed the bonus video clip. There is a vinyl pressing of this single in a coloured 7" format, plus an enhanced CD version with 2 bonus tracks and a video clip.
Editions: 7" EP limited to 200 copies, MCD limited to 1000 copies.

Track Listing:
01. Intro (original intro from 1985 tour) [CD bonus track] 1.39
02. Cold Sweat (Thin Lizzy cover) 3.07
03. Dead Again 5.01
04. The Darkening 2.47
05. Gripped [CD bonus track] 4.18
06. Cold Sweat (video) 3.14

Let's clear up the reason for this item appearing on Honour and Darkness - Atomkraft are not another new project from the ever-fertile imagination of Hugin but rather a British heavy/speed metal band who were originally part of the New Wave of British Heavy Metal movement, having formed in 1979 and disbanded in 1988 before a reformation in 2005. What is referred to as their "total metal" approach has been called "somewhere between fellow NWOBHM bands such as Motörhead and Venom, punk rock bands such as The Dickies, and early Exodus or Slayer".

One of the mainstays in Atomkraft is Tony "Demolition" Dolan, perhaps best known for his soujourn in legendary black metal horde Venom, but less well known for having created what some call the original thrash metal band in Atomkraft back in those heady days. Some brief highlights of the band's career: following recording "Conductors of Noize" in July 1987, the band promoted the record as part of support to Agent Steel and Nuclear Assault. The first date of the tour, at Hammersmith Odeon, featured an expanded line-up of Max Penalty, Atomkraft, Onslaught, Nuclear Assault and Agent Steel, and was promoted as 'The Longest Day'. Atomkraft’s performance was filmed for the 'Live Conductors' video as well as being recorded for a live BBC radio broadcast. They also played Dynamo Festival alongside Testament, Destruction and Stryper with the show going out live on Dutch radio, and embarked on a 1988 European tour with Nasty Savage and Exhumer. On completion of this tour Tony left the band and was offered a position in Venom as replacement for Cronos.

It's mostly through the Venom link that Hugin (uber-Venom fan that he is) came to form a business relationship with Tony that led to the release of this single, in what can only be called amazing artwork!

The cover of 'Cold Sweat' (clearly a popular choice amongst bands, as Nazgul notices that US rockers The Sword have also recently released this as a single) was originally recorded seven years ago but never actually released. According to Joe Matera, who makes a guest appearance on lead guitar on 'Cold Sweat', "This is a recording that was done around 2005 (I remember laying down my guitar solo around that time). It was going to be released back then but due to circumstances at the time, it got shelved."

All in all the MCD is a mighty romp through some excellent tunes, from the Metallica-esque riffing of 'Gripped' to the historically significant intro tape from way back in 1985 from the London Marquee when the band supported Slayer. 'Cold Sweat' itself is a rollicking singalong in classic Lynott style, whilst the remaining tracks give a welcome nod to the band's history whilst paving a way for them to escalate their operations into 2012 and beyond. The video track starts with the artwork from the cover of this single and ends with the W.A.R. Productions logo, and in between jams in a live performance from Atomkraft edited in old-fashioned grainy style black and white footage and intersperced with scenes of gambling at the roulette table (the lyrics of the song centre around gambling).

Hugin made a trip to London in late August 2011 to catch the band playing at Camden's Purple Turtle in support to Helstar (gig poster shown above, based on the original cover of the Hrossharsgrani "Blut" release no less), and on the way dropped in at Castle Nazgul for the Anglo-Austrian Alliance to catch up on world events. Indeed, such was the teamwork displayed at the gig and attendant promotion from Hugin for the band that both he and Nazgul ended up running the merchandise stall for much of the night with the unique and very limited edition London gig t-shirt the hot item for sale, whilst Hugin himself went suitably nuts in front of the stage for the duration of the Atomkraft set!

This would also be a timely point for Nazgul to say a quick "hello" not only to Tony but also to Atomkraft's guitarist on the evening, Rich Davenport, both of whom proved to be splendid fellows and awesome string-benders on the night!

Copies of the "Cold Sweat" single are still available from Hugin - check out his Discogs.com shop (under the name 'Hugin' would you believe) to see.

BLACK ORCISH BLOOD

2011-10-26T21:18:00.002+01:00

Band: URUK HAI
Title: Black Orcish Blood
Format: Cassette tape on the Wulfrune Worxx label (France), released in 2010, cat ref WW164. This tape comes with a black and white paper cover (signed in this instance by Hugin) and a standard C60 style tape. A CDr pressing of the album appears in the "Gorgoroth" box-set of 2011.
Edition: Tape limited to 66 hand-numbered copies

Track Listing:
01. Black Orcish Blood 29.37

This demo is one from that particularly productive period from 2010 when albums, demos and all manner of oddments were being released by Hugin with breathtaking regularity. This demo was issued at around the same time as "The Lord of the Rings", "Wrath of the Ring", "Ash Nazg..." and the "Middle Earth Pts. 1 and 2" releases, all coming out on the esteemed Wulfrune Worxx label.

The cover might give a passing nod towards Bathory's "The Return" artwork (and can it really be 27 years since that album was released?!), but the sounds emanating from the two respective releases probably couldn't be more different if they tried.

'Black Orcish Blood' the track presents itself as another long, ambient experience (I use the word 'experience' rather than 'song' intentionally, as this lengthy undertaking is more of an event than a mere song you'd hum along to) in the vein of "The Lord of the Rings" et al. Apart from sporadic percussion in the form of tolling bells and some wind effects, for the most-part this track wafts along on a gentle raft of synthesiser and keyboard effects. It's certainly not an in-your-face musical explosion, rather a more gloomy and foreboding set of sounds that conjure up visions of the forests by night.

Before listening to this and solely from the title Nazgul had formed the impression that this demo might be full of pounding beats and up-beat tempos, akin to the pumping blood of Uruk Hai on their march to war. In fact, the music resembles the introduction to a film in as far as it builds gradually to various crescendos and peaks (in terms of drama rather than volume) and the cover art is particularly apt: standing on the uppermost ramparts of Castle Nazgul on a recent stormy night, watching the clouds scudding past the full moon whilst listening to this demo, gives the piece a real sense of place.

One could be slightly critical of the releases in places - it's hard to consistently maintain concentration for tracks of this duration, and certain passages in the middle sound quite familiar to other Uruk Hai releases - but this is marginal criticism at worst, as the demo has the trademark stamp of Hugin all over it and is an entirely enjoyable listen.

Perhaps not the most outstanding Uruk Hai demo of recent times, but by no means the least impressive, this is an atmospheric listen that will reward the intrepid listener.

MIT FESTER HAND - ALLERSEELENLIEDER [V/A]

2011-10-24T22:57:00.004+01:00

Band: HREFNESHOLT (as part of a compilation)
Title: Mit Fester Hand – Allerseelenlieder
Format: A six-panel digipak CD release on the Ahnstern label (Austria) in 2011. Full colour panels, silver factory pressed CD, catalogue reference Ahnstern 43.
Edition: presumed unlimited

Track Listing:
01. Ernte * Santa Sangre (Jodorowsky Mix) 2:10
02. Tyr-Kreis * Ernting 3:34
03. Haberfeld * Olle Lust Wui Ewigkeit 4:53
04. Die Weisse Rose * Flamme 3:52
05. Fanes * Sonne Golthi-Ade 4:14
06. Sagittarius * Musa 4:31
07. Scivias * Idun 4:04
08. Fräkmündt * Firnföuskamerad 4:08
09. Hrefnesholt * Herbstlied 5:34
10. Ô Paradis * Marqués De Púbol 4:45
11. Blood Axis and Sangre Cavallum * Sonne Golthi-Ade 3:51
12. Sturmpercht * Sturmlied 5:24
13. Larrnakh * Knistern 4:30
14. Àrnica * Foc De Salamandra 5:11
15. Klammheim * Allerseelen 5:23
16. Der Arbeiter * Flama 4:53
17. Der Feuerkreiner * Feuersalamander 5:05
18. Cawatana * Alle Lust Will Ewigkeit 3:57
19. Svarrogh * Heiliges Blut 4:40
20. Allerseelen * Mit Fester Hand 3:40

Brand new and literally hot off the press into Nazgul's eager hands comes this tribute disc to the mighty Allerseelen, released on the Austrian Ahnstern label (an imprint of the Steinklang label).

Perhaps a compilation dedicated to the evergreen Austrian project Allerseelen was always going to be a likely event given their twenty years plus of activity in the European underground, but this is nicely done as it features personal friends of Gerhard Hallstatt of Allerseelen. Drawing mostly from the rich roster on the Steinklang/Ahnstern labels, "Mit Fester Hand" presents an interesting overview of Allerseelen work in varying interpretations, though mostly within the neo-folk genre.

Though Nazgul may not be an expert in the area, not everything on "Mit Fester Hand" is pure gold to these ears although of course the vast majority of tracks I'm hearing for the first time in these interpretations. It's a very timely and honourable tribute to Allerseelen though, and an interesting release for anyone with interest in the European industrial/neo-folk arena.

Rather than attempt a ham-fisted attempt at a track by track analysis, Nazgul will leave you momentarily in the capable hands of Filth Forge (www.filthforge.org) for their review of the entire album:

"This articulate compilation is a tribute to the work of Gerhard Hallstatt as Allerseelen. Nineteen different bands interpret one of the long-running Austrian project's classic, according to their personal sound and sensitivity. It's Ernte who open this collection, with a vibrating and electric remake of 'Santa Sangre' (coming in a 'Jodorowsky Mix'), not by chance the track Allerseelen contributed to the historical sampler "Im Blutfeuer", released by Ernte's legendary label Cthulhu in 1994. To follow are the unknown Tyr-Kreis, who offer a not too brilliant cover of the martial and powerful 'Ernting', possibly the most representative song out of Gerhard's industrial / ritual period, originally appeared on the famous "Gotos=Kalanda". This uninspiring version, using samples directly from the original, can't stand next to it.

Much better is achieved by another new name, Haberfeld, whose 'Olle Lust Wui Ewigkeit' is a reinterpretation (probably in some Southern German or Austrian dialect) of 'Alle Lust Will Ewigkeit', in which the orchestral sample from Test Dept.'s 'Pax Britannica' is perfectly reproduced with acoustic instruments. The song itself is played with a personal touch. This is definitely a band to check out in the future. Die Weisse Rose deliver an epic and solemn 'Flamme', an obscure tune that doesn't come from the album of the same name, but from the remotest past of "Stirb Und Werde". Their organ and choral vocals seal one of the best episodes of the entire CD.

Fanes, another new-comer, play a very good version of 'Sonne Golthi-Ade', with electric bass boosting the song's power, whereas Sagittarius appears with a 'Musa' very close to the original, without any significant personal variation. Scivias give more welcome signs of life with 'Idun, in which their ritual and martial sound doesn't fail to offer another proof of these Hungarians' value. Frakmundt translate 'Kamerad' in their Swiss dialect, turning it into 'Firnföuskamerad', a faithful transposition of Allerseelen's original, and so does Ô Paradis with 'Marqués De Puból'. Another 'Sonne Golthi-Ade' is splendidly recreated by the joint forces of Blood Axis and Sangre Cavallum, reaching another of the compilations very peaks.

Sturmpercht turn the otherwise sparkling 'Sturmlied' into something dark and mysterious, whispered through forests and valleys, just like Àrnica do with "Foc De Salamandra", a tribal and savage Catalan variation of 'Feursalamander'. The same song is further moulded in the hands of Der Feuerkreiner, who manage to render it as an even more martial and gloomy anthem, with Valentina's awesome vocals as usual irresistible.

Another great moment is Klammheim's rework of 'Allerseelen' a recent song appeared on "Hallstatt" in 2007. Dea's beautiful voice and the quasi-religious solemnity of the band's sound conceive a special atmosphere. Last but not least, Svarrogh set fire to an electric 'Heiliges Blut', as powerful as the original on 1997's "Sturmlieder", and Hrefnesholt do the same to 'Herbstlied', with scorching e-guitars and violins. The other three bands featured, Larrnakh, Der Arbeiter and Cawatana, deliver covers way too identical to the originals, lacking the freshness of other interpretations available on this compilation (it's the case of the latters 'Alle Lust Will Ewigkeit', much inferior to Haberfeld's inspiring version).

Summing up, tribute CDs can be a very precious occasion to see a bunch of interesting artists paying homage to a friend or inspirator, putting their hands on his / her songs to offer a personal view, with either good or bad results. It can, however, turn into a rather useless exercise, especially when second-league bands are involved. "Mit Fester Hand - Allerseelenlieder" falls into the first category, as more than half of the collection features very good names and intriguing interpretations of Gerhard Hallstatt's music. And the artwork is, as usual with Ahnstern, outstanding."

There, you can't say that wasn't both thorough and interesting.

The Hrefnesholt song is referred to above as 'scorching', which isn't the word Nazgul would necessarily have employed: rustic, quaint, folksy, slightly demented (ok, that's two words) all might have been contenders though. It's a whirlwind of wooden folk percussion, bursts of guitar, and couldn't sound more 'of the forest' if you took the CD down to the woods and nailed the bugger to a tree.

Great to see one of Hugin's projects on this release, cementing his reputation as an artist of value and renown in the field (or, indeed, the forest). You can find your own copy via the online shop at www.steinklang.at and begin your journey today...

ANCIENT TALES - update II

2011-10-21T16:12:00.005+01:00

Band: HROSSHARSGRANI
Title: Ancient Tales
Reason for update: Third edition pressing for this release, in a self-released tape format with colour cover but no catalogue reference.

Track Listing:

Side 1
1. March Into Battle
2. The Riddle of Steel
3. Fire and Ice
4. Mjölnir
5. Hel (Goddess of the Underworld)
6. Song To Hall Up High
8. Blood on My Sword
9. Weltenbrand
Side 2
10. The Unknown Land
11. The Eternal Halls of Valhalla
12. Ancient Tales
13. Myrkvid
14. Riding the Wind
15. Triumph in Every Fight (extended version)
Bonus Tracks
16. Fimbulwinter
17. Heroism
18. When The Gods Come To Earth

Congratulations to those of you still checking back at Honour and Darkness to see if Nazgul is alive and well and posting still. He is, although evidently not as frequently as of yore through a variety of prosaic reasons to do with work and live in general. Fear not, however, this tribute to the outstanding work of Alex Wieser is far from over so if you can put up with the delays then there will be some treats ahead for fans around the globe!

Let's start with something quite straightforward today: another update to the "Ancient Tales" saga. Now, the original review of the original tape release came on the 21 March 2009 and was followed by coverage of the extended 2CDr version released on Valgriind that you may recall from 3 December 2010. Later still came the "Ancient Tales" t-shirt in all of its limited edition glory, posted on 26 April 2011. And now, something else...

Yes, referenced on the inlay as the 'third edition' (although Nazgul's hazy memory seems to suggest there is an original CDr version still uncollected in the Castle library, complete with limited edition poster), which rather implies that the Valgriind 2CDr reissue actually comes after this tape release in chronology. That said, with no dates or catalogue details on this particular tape it's impossible to tell, though common sense would seem to support that supposition.

What you get on this version is a slightly different version that from the original tape release: 'Heroism' moves from side 1 of that tape to side 2 of this one, whilst the final track of the earlier tape 'The Gates of Mordor' disappears from the end of side 2 to be replaced by 'Fimbulwinter' and 'When The Gods Come To Earth', which also appear on the 2CDr version.

Some new cover artwork has appeared to, on this copy kindly signed and dedicated by Hugin, and depicts what looks likely to be one of the Valkyrie in wooded surroundings.

Since this tape appeared in one of Hugin's regular parcels to Castle Nazgul it has to be said it has remained unplayed as yet, with the CDr pressing coming in for more regular airing on the Castle death-deck. It also has to be said that Nazgul has yet to see another copy of this particular tape anywhere else online, suggesting it's edition volume may be pretty restricted. Perhaps our old Austrian friend will be able to advise us...?

Another stone-cold collectable for the library shelves, however, and to celebrate this fact let's revisit the "Ancient Tales" family in the concluding photograph:

DARKNESS (PART III)

2011-09-29T20:14:00.003+01:00

Band: URUK HAI
Title: Darkness (Part III)
Format: Formally a tape-only release on the Wulfrune Worxx label (France) in 2010, cat ref WW167, although a CDr version does exist that compiles all parts of the "Darkness" series but only within the very limited edition box-set version on WAR Productions. This tape comes with Wulfrune's standard black and white copied inlays.
Edition: 33 hand-numbered copies

Track Listing:
Side 1
01. Total Darkness
Side 2
02. Total Darkness

Have you ever found that certain albums or songs put you in mind of a particular place or time? Your old uncle Nazgul, for example, can't listen to "Hold Your Fire" by Rush without being drawn into thoughts of winter and the Christmas season (for reasons too arcane to get into here), and just one song from Iron Maiden's "Killers" takes him back to his formative school days and happy recollections of the day that album was originally released back in February 1981.

The point being that "Darkness (Part III)" is one of those albums. The generally cheerless and morbid nature of the sounds on offer (it would be a stretch to call them 'songs' as such) always brings to my mind the scenes from Ridley Scott's film 'Legend' where we are taken into the terrifying underground kitchens of the Lord of Darkness. I suspect this derives from a combination of factors, possibly Nazgul's subconscious linking 'darkness' as the name of the demo with the similarly titled evil protagonist of the film, but more significantly deriving from the dark, disturbing sounds (with attendant intermittent clanks, bumps and infrequent sepulchral vocals) invoking the raw essence of that grisly, subterranean nightmare.

Musically this demo is a world away from the "Spirits (Of Ancient Times)" tape that Nazgul recently reviewed on Honour and Darkness and you'd be hard pressed to guess it was by the same project. The lines between the atmospherics of WACH and B-Machina and the keyboard opulence of a 'typical' Uruk Hai release (if such a thing exists) are pretty blurred on this outing, and it is most certainly the sort of demo that works best late at night as a background soundtrack rather than as a piece you'd casually pop onto the death-deck to hum along to. That said, and with Halloween on just around the corner, why not give it a considered listen wearing headphones and scare yourself witless with all of the devilry going on!

As will be apparent from its title, this is the third part in Hugin's 'Darkness' saga. The original "Darkness" demo tape was a collection of Uruk Hai tracks from 2001 (see review from 10 February 2011) and so whilst its name inspires the series it doesn't really have a close connection with the successive releases. "Darkness (Part II)" was reviewed on the Blog on 16 March 2011 and really got the ball rolling with the inky blackness of despair being analysed and dissected in memorable style by Hugin. There are 2 further parts in the series yet to be reviewed, so with a bit of luck these will be covered on these virtual pages in the near future.

Would this be an obvious purchase for you, the loyal yet discriminating Uruk Hai fan? Well, opinions would doubtless vary immensely over this depending on what end of the spectrum your listening preferences lie. If you are a advocate of the symphonic Middle-Earth approach of recent Uruk Hai (and here we're talking about releases such as "Gil-Galad", "Death Is Just Another Path" et al) then you'd probably wonder what on earth you were listening to on this demo. Conversely, if you enjoy a brooding, atmospheric piece of dark ambience with your morning cornflakes this might very well be right up your street.

SPIRITS (FROM ANCIENT WORLDS)

2011-09-28T20:52:00.008+01:00

Band: URUK HAI
Title: Spirits (From Ancient Worlds)
Format: Cassette tape release from January 2011, which comes in two versions. The first, with full colour cover, is on the Depressive Illusions Records label (Ukraine), cat ref cut182. The second version, in a smaller limitation, is on the Wulfrune Worxx label (France), cat ref WW184, and comes with black and white cover and with a bonus track on the second side, the remastered 'Songs From The Woods' from 2011.
Edition: Depressive Illusions version limited to 111 hand-numbered copies, whilst the Wulfrune Worxx version come in only 22 hand-numbered copies

Track Listing:

14.51

9.01

Wulfrune Worxx version-only bonus song
03. Songs From The Woods

First off, your dilemma: do you purchase the Wulfrune Worxx version and benefit from that extra track (previously released, of course, via Depressive Illusions as covered by the post of 18 January 2011), or is your heart's desire the glossy colour version lavishly created through the Depressive Illusions label? Well, you could always 'do a Nazgul' and purchase both, and see such dilemmas slip away into the ether....

And it would be well worth supporting both labels by laying your hands on dual copies of this release, not least because you'd have the opportunity to own one of the more modern recent - and most excellent - recordings by Uruk Hai. There's not been the deluge of releases from our favourite Austrian horde so far this year as in prior years, but this tape from early 2011 contains two lovingly composed tracks that demonstrates the varied repertoire in the current sound of this project, complete with epic percussion and detailed sound mixes but with no vocal parts at all.

In many respects dwelling on individual aspects of this release is likely to be a moot point: those of you keen on the project will most likely have a copy to hand already, whilst those yet to be converted may struggle to find a copy for sale at this late stage anyway, particularly the less common Wulfrune Worxx version. But in the interests of completeness, let Nazgul just note that the tracks on offer are of cinematic quality in terms of their grandeur and expanse. If only someone would send a tape to Peter Jackson for one of his Tolkien-related films then surely Hugin's music would be a shoe-in for the soundtrack!

The first track is by far the more 'upbeat' of the two, thanks to a quirky and at times funky drum pattern and a catchy synthesiser that ebbs and flows like tide on distant shores. Elements of symphonic Uruk Hai of old appear in this track (think of some of the more epic and orchestral parts of "Black Blood, White Hand") yet there is a definite dance-vibe present throughout the whole of this song that elevates it from some mere dark ambient performance into an entirely separate realm altogether. If Uruk Hai were to dance around their camp-fires there's a good chance it would be to this...

The second song is a far more sombre affair, composed largely on piano and definitely a more downbeat experience after the previous tune. That said, there's bags of stuff going on in the mix and whilst it is a slower, more atmospheric track it certainly grabs the listener by the scruff of their neck for the duration.

Both song titles are depicted by runes rather than by a name. The runes in question most probably come from Futhorc (or fuþorc), a runic alphabet used by the Anglo-Saxons, in turn descended from the Elder Futhark of 24 runes. This alphabet was used from around the fifth century onward, for recording Old English and Old Frisian. There are competing theories as to the origins of the Anglo-Saxon futhorc. One theory proposes that it was developed in Frisia and from there spread later to England. Another holds that runes were first introduced to England from Scandinavia where the futhorc was modified and then exported to Frisia.

I say 'most probably come' as different runic alphabets exist that use similar characters in their composition. However, in J. R. R. Tolkien's novel The Hobbit the Anglo-Saxon runes are used on a map to emphasize its connection to the Dwarves and they were also used in the initial drafts of The Lord of the Rings, but later were replaced by the Cirth rune-like alphabet invented by Tolkien.

The symbol to the first track is the Algiz, often equated to the modern day 'x' yet traditionally pronounced 'yr'. The letter has come to symbolize many neo-pagan religions and is often worn as a pendant. When casting rune stones it is most commonly determined to represent refusal to move on, or one's family and heritage.

Guido von List's 'Armanen Futharkh' were very loosely based on the Younger Futhark. List's runes were later adopted and modified by Karl Maria Wiligut who was responsible for their wide useage on insignia and literature during the Third Reich, notably in SS-obituaries (of all things). Various forms of the Algiz rune are still commonly used by various Germanic Neo-pagan groups as a symbol of their religion.

The second track utilises the 't' rune, named after Tyr, which was identified with this god; the reconstructed Proto-Germanic name is Tîwaz (the rune is sometimes also referred to as Teiwaz). According to the Poetic Edda and Prose Edda, at one stage the gods decided to shackle the Fenris wolf (Fenrir), but the beast broke every chain they put upon him. Eventually they had the dwarves make them a magical ribbon called Gleipnir. It appeared to be only a silken ribbon but was made of six wondrous ingredients: the sound of a cat's footfall, the beard of a woman, the roots of a mountain, bear's sinews, fish's breath and bird's spittle. The creation of Gleipnir is said to be the reason why none of the above exist. Fenrir sensed the gods' deceit and refused to be bound with it unless one of them put his hand in the wolf's mouth.

Tyr, known for his great wisdom and courage, agreed, and the other gods bound the wolf. After Fenrir had been bound by the gods, he struggled to try and break the rope. When the gods saw that Fenrir was bound they all rejoiced, except Tyr, who had his right hand bitten off by the wolf. Fenrir will remain bound until the day of Ragnarök. As a result of this deed, Tyr is called the "Leavings of the Wolf"; which is to be understood as a poetic kenning for glory. According to the Prose version of Ragnarok, Tyr is destined to kill and be killed by Garm, the guard dog of Hel.

Incidentally, in researching this post Nazgul has discovered that an image of this act - Tyr sacrificing his arm to Fenrir - forms the cover to the split release between Uruk Hai and Walpurgis, and is a 1911 illustration by the artist John Bauer. There's still much to learn from this collection.

Nazgul is very proud to own edition #1 of both pressings of this release, both of which have been signed and dedicated by the great man himself (Hugin, of course, not Tyr!)

FALLEN - update

2011-09-20T11:52:00.006+01:00

Band: Orcrist (featuring Hugin)
Title: Fallen
Reason for update: A signed vinyl pressing of this release

'Twas almost like the night before Christmas when Hugin visited Castle Nazgul, such was the stream of generous gifts bestowed by Austria's finest on the Nazgul clan.

This particular item is an absolute cracker, and most probably the only one of its kind anywhere to be found!? It's the limited to 500 vinyl pressing of "Fallen" on Aphelion Productions (this is #109) that has been signed and dedicated by Hugin, and also by members of Orcrist too!

You may recall the detailed review of the CD version of this release (together with promo tape) back on 11 January 2011, and to be honest Nazgul didn't even know that there was a vinyl version of the album until seeing this copy.

What a gem of an item for any collection, and a true sign of friendship from our man in the Alps!

THE BARBARIAN

2011-09-14T20:28:00.004+01:00

Band: URUK HAI
Title: The Barbarian (A Tribute To Basil Poledouris)
Format: Cassette release from Wulfrune Worxx (France) in 2010, cat ref WW170. The tape comes with black and white photocopied inlay. The tracks are copied on both sides of the tape.
Edition: Limited to 27 hand-numbered copies only

Track Listing:
01. Theology & Civilisation
02. Barbarians (first take mix without vox)
03. Conan Piano Suite
04. Anvil Of Crom

It's fair to say that Hugin is something of a fan of the Conan films. In his recent sojourn to the UK, Hugin and Nazgul took themselves off to view the new 3D Conan The Barbarian film which was entirely enjoyable if not quite in the same league as the original 1982 version. If you are familiar with that original film you may well have a strong and positive memory of the film score, written by one Vassilis Konstantinos "Basil" Poledouris and considered by many to be one of the finest examples of motion picture scoring ever written.

The work of Basil Poledouris was common in film and television shows between 1971 and 2003 before cancer led to him living the final years of his life on Vashon Island (Washington State, USA) before his death in November 2006. Many of the films are well known, including Red Dawn, Iron Eagle, RoboCop, The Hunt For Red October, Free Willy, Under Siege 2 et al, and let us not forget the Conan The Destroyer sequel too!

Poledouris composed enough musical pieces for approximately two hours of the film. This was his first large-scale orchestral score, and a characteristic of his work here was that he frequently slowed down the tempo of the last two bars (segments of beats) before switching to the next piece of music. Poledouris said the score uses a lot of fifths as its most primitive interval; thirds and sixths are introduced as the story progresses.

The composer visited the film sets several times during filming to see the imagery his music would accompany. After principal photography was completed, Milius sent him two copies of the edited film: one without music, and the other with its scenes set to works by Richard Wagner, Igor Stravinsky, and Sergei Prokofiev, to illustrate the emotional overtones he wanted.

Poledouris said he started working on the score by developing the melodic line—a pattern of musical ideas supported by rhythms. The first draft was a poem sung to the strumming of a guitar, composed as if Poledouris was a bard for the barbarian. This draft became the "Riddle of Steel", a composition played with "massive brass, strings, and percussion", which also serves as Conan's personal theme. The music is first played when Conan's father explains the riddle to him. The theme stirs up the appropriate emotions when it is repeated during Conan's vow to avenge his parents.

The film's main musical theme, the "Anvil of Crom", which opens the film with "the brassy sound of twenty-four French horns in a dramatic intonation of the melody, while pounding drums add an incessantly driven rhythmic propulsion" is played again in several later scenes. The film's music mostly conveys a sense of power, energy, and brutality, yet there are tender moments. The sounds of oboes and string instruments accompany Conan and Valeria's intimate scenes, imbuing them with a sense of lush romance and an emotional intensity.

Poledouris deviated from the practice of scoring love scenes with tunes reminiscent of Romantic period pieces; instead, Poledouris made Conan and Valeria's melancholic love theme unique through his use of "minor-key harmony". Page Cook, audio critic for Films in Review, describes Conan the Barbarian's score as "a large canvas daubed with a colourful yet highly sensitive brush.

There is innate intelligence behind Poledouris's scheme, and the pinnacles reached are often eloquent with haunting intensity." From late November 1981, Poledouris spent three weeks recording his score in Rome. He engaged a 90-instrument orchestra and a 24-member choir from Santa Cecilia, and conducted them personally. According to Poledouris, Rafaella De Laurentiis balked at the cost ($30,000) of a stereo soundtrack and was worried over the paucity of theatres equipped with stereo sound systems. The 24 tracks of sound effects, music, and dialogue were therefore downmixed into a single-channel, making Conan the Barbarian the last film released by a major studio with a mono soundtrack.

On his tape Hugin pays tribute to the man who penned the epic score to the 1982 classic film with four songs, which take samples of music and narrative from the original score and blend them with original instrumentation. Indeed, anyone familiar with Hugin's various projects over the years cannot fail to have heard samples from the Conan film appearing in the mix at some point or other, particularly the 'Riddle of Steel' passage where Conan's father tells him to learn the secret of steel and trust only it.

Opener 'Theology & Civilisation' and closing track 'Anvil Of Crom' draw heavily from the original 12 song score and are all the better for it, producing the sounds of great battle and sounding like ten thousand horsemen galloping forwards. 'Barbarians' in this non-vocal demo version is a pounding war-hammer of a track, bristling with spiky guitars and huge pounding drums. One imagines that a version with vocals will be forthcoming at some point and will most likely remove the heads of anyone within 50 paces. As a counterpoint to this ferocity comes the altogether more civilised 'Conan Piano Suite', which picks some delightful melodies and weaves them around the listeners ears like a fine gossamer blanket.

The cover artwork for this tape is quite different in style to the rest of the Uruk Hai discography, featuring as it does an image from the original film of Arnie (that arm surely couldn't possibly below to anyone else?!). The limitation on this tape is also interesting, being 27 in number: is it a number of arcane significance one wonders...?

Nazgul suspects that given the scarcity of this release and the suggestion of a second vocalised version of 'Barbarians' being in the offing then the music here will appear on a subsequent release in the fullness of time, thus allowing more Uruk Hai fans to enjoy the majestic sounds of a classic film score meeting the talented hands of Mr Wieser. For those of us in possession of this soon-to-be rare tape, however, rejoice: it's another great item worthy of any collection.

FLUSTERWALD - update

2011-09-13T18:07:00.003+01:00

Band: HREFNESHOLT
Title: Flusterwald
Format: This is a reissued version of the release in cassette tape format, supplementing the W.A.R. Productions CDr version originally released in 2009. This tape was released by Wulfrune Worxx (France) in 2011, cat ref WW201, and comes with light green paper inlays with alternate artwork compared with the original version.
Edition: Only 19 hand-numbered copies

Track Listing:
01. Asaland 2:20
02. Wald 9:06
03. Uralt 8:09

It's been a hectic time at Castle Nazgul, so my humble apologies for the protracted delay between this post and our last visit to the wonderful world of all things Hugin. Before we get into the meat and potatoes of this particular item, however, let Nazgul give you a quick update on a couple of matters that have been keeping him busy these past few weeks.

Firstly, of course, was the visit of none other than Hugin himself to the Castle! Quite the honour as you might imagine and cause for much celebration and a sound whipping of the serfs to prepare suitable chambers for Hugin's stay. A splendid long weekend was had by all, topped off with a privileged position at the excellent London gig of recently reformed legends Atomkraft, who Hugin himself is championing through his W.A.R. label. And what a genuinely great guy Hugin is too, quite the gentleman and extraordinarily good company.

Secondly, some exciting news on the domestic front: there is to be a new addition to the Castle in the form of Nazgul junior, expected to make his appearance in the world in mid-March 2012. Needless to say, the Nazgul clan is bursting with pride and excitement, and yes - there's likely to be other gaps in transmission as this story unfolds!

"Well, that's all very interesting", Nazgul hears you cry, "but what about this Flusterwald tape?" Well, let me quickly refresh your memories: the original review of the CDr version in Honour and Darkness was back in November 2009 and it heralded the origins of what we now know to be the contemporary 'folk-tinged sounds of the forest' adopted by the Hrefnesholt project. It was, in short, an excellent release, yet one that was only available in very small quantities but replete in some typically well thought out packaging from Hugin's own W.A.R. Productions label.

Now, two years later, comes a tape release of the same three songs, in an equally limited run of only 19 numbered copies (this particular one, Nazgul is proud to note, is numbered #1). The logic of releasing what had been a very limited edition CDr on a similarly low volume basis (and this time on tape!) may elude many, but that's the way that Hugin (and Skogen at Wulfrune Worxx) like to do business so who are we to argue?!

The new artwork on this particular release is very fitting to the forest-feel that the music conveys, and having this tape in the collection is a very welcome reminder to replay these tracks on a regular basis.

With recent releases - the quite brilliant Kruez being the most recent - the Hrefnesholt project has been going from strength to strength, carving out a unique place in the genre whilst at the same time beginning to compete with more established neo-folk bands. Listening to this EP confirms that the seeds of promise were generously sown in 2009, and have resulted in a bounteous harvest in 2011.

TAWANTINSUYU - update

2011-08-21T09:53:00.009+01:00

Band: URUK HAI
Title: Tawantinsuyu
Reason for update: Previously unseen photographs and images for proposed artwork

Recently Alexander of AMF Productions passed to Nazgul a bunch of oddments from his collection that related to Hugin's past releases. In this Blog update, what you see here are a selection of alternate cover images that were for 2006's "Tawantinsuyu" album. Alexander also sent Nazgul a selection of other photos shot in Peru, which could have graced the album in one way or other but were not finally chosen. We'll cover some of these in a future post...

The very first image shown at the top of the post shows a completely different set of possible cover images for this release, from the full colour landscape/scenic versions through to the figure of the Inca lady that was one option considered for the tape version.

The four black and white images below use some of the photos previously mentioned and some actually used on the final releases to construct some different tape cover versions. You'll note the different styles of Uruk Hai band logo on all of these images, two different on the colour versions and a third used below:

and the final image below is the AMF Productions promotional card for this release, showing the final two versions used on the tape covers.

A nice historic selection of an album under artistic construction!

DEMO 1/2010 - update

2011-08-17T21:37:00.005+01:00

Band: EISMOND

Title: Demo 1/2010
Reason for update: Alternative packaging of this demo

Some while ago we came across one of Hugin's friends by the name of Andreas Müller, who provided Nazgul with some examples of his unique bespoke versions of some of Hugin's recent releases.

The example shown on the Blog today is a CDr version of the 2010 tape demo from Eismond which, you may recall from the post of 16 April 2011, was a tape only release in the 'real' world via both the Wulfrune Worxx and Depressive Illusions labels. In Hugin's world, however, anything is possible and a result this special version was produced for tape-adverse Andreas!

You'll see from the photo that the standard colour insert from the Depressive Illusions is used as the inlay behind which the CDr disc lies, all housed in a hand-written and signed blue envelope.

Using coloured envelopes for limited edition or special releases is an occasional gambit of our Austrian hero, and notable examples of the art include Uruk Hai's "Orkstahl" release (see post for 24 December 2009), the B-Machina/Rose E Rovine split "Ganesha" (23 January 2010), or the promo-only edition of Elisabetha's epic "Und Wirklichkeit Erfüllt Die Seele Wieder" (20 July 2010).

Again, an excellent example of Hugin taking the time and trouble to give his friends and fan-base that personal touch

KREUZ

2011-08-13T13:47:00.003+01:00

Band: HREFNESHOLT
Title: Kreuz
Format: Cassette-only release on the Wulfrune Worxx label (France) in 2010, cat ref WW185. The traditional label format of a black and white photocopied label remains, with a hand-written edition number in gold pen (in what looks suspiciously like the hand of Mr Wieser). Tracks recorded between 2009 and 2010.
Edition: Only 77 hand-numbered copies

Track Listing:
01. Kreuz 2.17
02. Pestnogl 1.11
03. Schworzeichn 5.09
04. Die Glockn Von Dahoam 3.57
05. Dreck (Ans) 3.27
06. Dreck (Zwa) 7.05

Every now and then a band really gets their stuff together - they release an absolutely killer album that defines their sound and pulls together all the elements of their earlier work into one fine recording for the ages. Iron Maiden did it with their seminal "The Number Of The Beast" album, and before them Motorhead arguably hit their groove with the still-awesome "Ace Of Spades" release. It's a pivotal moment in the history of any band, as it's that moment in time that is often seen as the turning point in moving them from merely accomplished into the realms of genre-setting excellence.

With 'Kreuz' Hrefesnolt comes of age. Not so much knocking on the door of success, Hugin comes barrelling through like an out of control juggernaut and kicks some serious ass on the way. This, loyal readers of Honour and Darkness, is the definitive Hrefnesholt release.

An EP's worth of material in terms of overall duration at a smidgen over 22 minutes in length, there are some unmissable moments on this tape release and whether you collect this format of release or not you really should try to get your hands on this, or start an immediate petition to get the thing released as a CD pressing. In fact, I tell you what, let Uncle Nazgul give you a helping hand by starting a poll on today's page to see how many people actually would like to see this on the CD medium - take a look at the poll and vote away!

Anyway, back to this most excellent release. I don't really want to dwell on any one track in particular as they all have their merits, it's the overall nature and synthesis of the sound that demands your attention. From the outset there's a nod back to the band's "Rabentanz" CDr, all wind and keyboard effects, before the scene shifts into the 'new' folksy Hrefnesholt sound. Some songs blend riffing guitars with maudlin violin parts with absolute precision and beauty, on others you'll find organic rhythms and melancholy vocals performed brilliantly by Hugin.

In similar fashion to past Burzum albums, Hugin complements instrumental passages with suggested lyrics, giving us prose for 'Pestnogl' and 'Die Glockn Von Dahoam'. Hidden away elsewhere on the inlay is a small salamander-type lizard scuttling to the right of the cover photo, and to the left on Nazgul's version (#1 of the 77 copies) is a dedication from Hugin, "Up to the cross!"

Regular readers of this page will know that Nazgul has always had a soft spot for Hrefnesholt, and it's an absolute pleasure to report that with this EP Hugin has recorded one of his finest albums ever, across any of his projects. As the old rogue Xavier Russell used to proclaim in vintage Kerrang! album reviews, "buy-or-die": it's really that simple.

Can you say "all time classic" ...?

OF BATTLES, RAVENS & FIRE - vinyl update

2011-08-12T15:13:00.006+01:00

Band: HROSSHARSGRANI
Title: Of Battles, Ravens & Fire
Format: Picture disc vinyl edition released in 2001 on CCP Records (Austria), cat ref 10223-1.
Reason for update: a closer look at the artwork on this release.

As the fires of recent riots across England's green and pleasant land burn dimly in the distance, Nazgul sits within his castle on the hill, drawbridge firmly closed against passing hooded marauders, contemplating setting loose the dragons to ward off casual pillaging on the Nazgul estate.

And contemplating dragons put in Nazgul's mind this Hrossharsgrani picture disc - the only vinyl release in the Hrossharsgrani discography, fact fans - with the accompanying thought that it hadn't really been done justice in past posts.

So here it is in all of it's glory, with the first photograph above showing the most excellent illustration on the Hross' side (this being a split release with Austrian horde Mittwinter, after all), and the second photo showing the hand-designed inner paper with 'Hail and Kill' greetings to a number of Hugin's faithful following.

But where did the artwork for the disc come from, you may wonder? Well, wonder no more: it's another John Howe illustration that has been adapted for use on a Hugin release. We've seen a few over the years, most recently the superb cover of the Uruk Hai/Moloch vinyl release "Iron Age".

Here's the picture in full for you to enjoy, showing Smaug (from The Hobbit) in all of his splendour:

Interestingly most of the online references to this piece of art - which crops up on no end of Tolkien fan-sites - refer to it by the title "The Death Of Smaug". Strange indeed, for even the most cursory glance at the picture shows Smaug in anything but his death-throes. Indeed, if you ask Nazgu he's in full fiery fettle here and anyway, as we all know, it was Bilbo who finally put paid to Smaug.

No, the truth is discovered through John Howe's own website, where he reveals that the picture is actually called 'Smaug destroys Laketown' and was:

"Originally done for the 1988 Tolkien Calendar, I was of course overjoyed and flattered to see it make not only the chosen month, but the cover of the English edition. I remember spending ages trying to get Smaug the way I wanted him, and nothing seemed to work. Finally, I put that little kink in his tail that broke the smooth line of it, and the whole thing fell into place."

So there we have it - straight from the horse's mouth.

For completeness to round off this revisit to an old favourite, here's a photo of the Mittwinter side of the disc/inlay should any of you have been curious to see it.

URUK HAI / SEPULCHRAL MOON split

2011-08-02T16:19:00.003+01:00

Band: URUK HAI
Title: Untitled split release with Sepulchral Moon (Switzerland
Format: CDr release on the Black Ambient Records (USA), released in April 2011. There is no catalogue number but this is one of 8 releases on that label. CDr has a picture cover, and comes in a slimline jewel-case with pro-printed black and white cover.
Edition: 33 hand-numbered copies

Track Listing:

URUK HAI
01. Emyn Muil 37.07

SEPULCHRAL MOON
02. Shadows Flying Over Orodruin 3.12
03. Passing the Gate of Eternity 2.56
04. A Majestic Moon 5.28
05. To the Snowy Lands 2.10

Just the appearance of this CDr release took Nazgul back to the halcyon days of 2004 and specifically to the visually similar Uruk Hai "Ea" demo on the Italian Werwolf label, which also has a slimline case and black and white inlay. Whilst the picture disc and the pro-printed inlay are welcome and add a touch of class it has to be said that the process used to produce them gives off a ferocious odour - this could be the first Uruk Hai demo with the ability to transport you to distant realms as much as a result of the print fumes as the music!

This CDr came directly to Castle Nazgul from our Austrian hero, but Nazgul notices that were you to order a copy from www.blackambientrecords.storenvy.com you may also land yourself a pair of 1" badges, one for each band, whilst stocks last. Given that there are only 33 of these releases out there (Nazgul's copy is #2 for those of you keeping score) then one suspects stocks won't last very long at all...

Both of these bands conjure up some intelligent and thoroughly enjoyable music with various twists and turns on the ambient/dark ambient spectrum. This comes as no surprise to anyone who has been paying even the most cursory attention to recent Uruk Hai product, although by even Hugin's own mighty standards the epic 37 minute plus offering on this demo is one hell of a recording. Swiss horde Sepulchral Moon are new to Nazgul but on this showing will be a band to investigate in more detail in the future for sure.

This full-on version it is as majestic as the mountain range after which is was named: In Middle-Earth Emyn Muil was the massive range of hills that spread above the inflow of the Entwash. At one time they marked the northern borders of Gondor; This craggy, impassable highland region located upon either side of Nen Hithoel (the large lake upon the Great River Anduin, amid the Emyn Muil to the east of Rohan).

In The Two Towers, Frodo and Sam, attempting to reach the Black Gate of Mordor, are lost in the eastern Emyn Muil for days until Gollum finds them and, after a great deal of persuasion, agrees to show them the way, leading them south into the Dead Marshes.

This journey ties up rather nicely with the first of the Sepulchral Moon songs, 'Shadows Flying Over Orodruin', with the latter being the Sindarin term for Mount Doom, found of course in the black heart of Mordor...

'Emyn Muil' contains many of the modern-day Uruk Hai hallmarks in terms of the style of percussion employed and the epic length of the song in question. It also contains some uncredited female vocals to lend the song an ethereal touch in places, underscored by a distant buzzing guitar which gives a nice juxtapositioning of styles. It may sound rather terse to describe a half hour plus song in such brief terms, but as with many of Hugin's lengthy compositions it's all about the atmosphere generated and the sense of grandeur invoked rather than a detailed description of which riff kicks in at which moment, or how catchy the chorus is. Let's be honest, the only way you're going to appreciate songs like this is to immerse yourself in them and let your mind drift rather than reading the crazed ramblings of an old hack like Nazgul.

As previously noted Sepulchral Moon are unfamiliar to Nazgul but on this showing some further listening is clearly needed. The Swiss horde describe themselves as minimal black ambient and black metal and, based on online reviews of other material they've released (the Khazad-Dum demo being one such example), most of the tracks fall into the extreme dark ambient arena. As one commentator had it, "very interesting to listen to during those long night walks in the blistering cold forests of wherever you are".

Nazgul would confidently expect this particular Uruk Hai song to reappear on a more voluminous release at some point in the future to give more people the chance to appreciate this epic song, so keep your eyes peeled for it. In the meantime, if you are able to get your hands on this particular split release Nazgul can only encourage you so to do, as it's rather special.

Infernal War zine #12

2011-07-26T14:43:00.002+01:00

Band: URUK HAI
Item of interest: Infernal War zine #12 (2010) featuring Uruk Hai song on compilation CD.

Track Listing:
01. Artep * Eye of the Srpent 5.42
02. Astral Silence * HydrA 8.37
03. Uruk Hai * Durin's Hall (unmastered version) 8.13
04. Black Altar * The Void 5.47
05. Pestis * Lost in the Width of the Eternal Ice 4.00
06. Atritas * Blasphemic Madness 5.52
07. Profanus Nathrakh * Rigor Infinitatis Mors 6.24
08. Mal Etre * Son Ame Saigne 9.25
09. Leere * The Mystical Gate to Oblivion 8.25
10. Goatfukk * Kvltsatte 5.26
11. Atrium Noctis * In Memoriam Moriendi 7.20

Coverage of any of Hugin's projects in the printed media is pretty uncommon in Nazgul's experience, so it's with some pleasure that this copy of the German(?) metal zine Infernal War #12 came across my desk in Castle Nazgul, complete with sampler disc featuring Uruk Hai.

The song in question is "Durin's Halls", which features on the very first Uruk Hai demo from way back when in 1999. More recently - 2010 to be exact - Hugin has re-mastered this original demo and re-released it on both tape and CD as "In Durin's Halls (Return To The Mines Of Moria)". You, as a loyal and stalwart reader of this Blog, will be well aware that we have yet to cover that particular release in these pages. This sampler therefore acts as a suitable lead-in to that particular review, which Nazgul really ought to get on with.

Now, in truth it's been a fair while the "In Durin's Halls" tape has been given a whirl on the Castle death-deck. Nazgul's recollection of the demo in question was that it made a clear statement of intent to differentiate itself from the Hrossharsgrani demos of the same period by being a largely ambient and ultimately gentle canter through mystic rhythms and eldrich legend associated with Middle-Earth.

This new version of the title track - albeit in un-mastered format - starts off precisely in that sort of instrumental vein, but before long there is an attack of what can only be deemed 'aggressive vocals" from Hugin that gives the listener quite the wake-up call. It's certainly a different take on what I recall from the original piece, but whether that's a function of the updated recording technology or a different take on the song remains to be seen: perhaps, in truth, Nazgul's increasing age and senility is clouding his memory of the original song.

Hmmm - methinks a revist to the original demo tape is called for, followed by a more detailed consideration of the re-mastered version of this release. Watch this space!

Darkness box-set: media card-disc

2011-07-21T16:32:00.006+01:00

Band: URUK HAI
Title: Darkness media card-disc (only found in the Darkness I-V box-set)
Format: Blue card-shaped mini-disc contained in a black envelope, sealed with an Uruk Hai sticker. The disc comes with a white paper 'inlay' describing the contents - 3 wallpaper designs, and a video clip for 'Darkness'.
Edition: Only in the Darkness I-V box-set (5 copies)

Contents:
3 x Uruk Hai computer wallpaper designs
1 x Darkness video clip 2010 [2.04]

Resuming our occasional and ad hoc trawl through the epic Darkness box-set, this small disc contains some rather splendid wallpaper designs for Uruk Hai fans and so Nazgul thought he'd share the pictures with you here so you can see what you're missing!

First up is a design based on the Eye of Sauron, ablaze in all of its glory in the illustration below. Throughout The Lord of the Rings 'the Eye' (aka the Red Eye, the Evil Eye, the Lidless Eye, the Great Eye) is the image most often associated with Sauron. Sauron's Orcs bore the symbol of the Eye on their helmets and shields, and referred to him as the 'Eye' because he did not allow his name to be written or spoken, according to Aragorn. Also, the Lord of the Nazgûl threatened Éowyn with torture before the 'Lidless Eye' at the Battle of the Pelennor Fields (honestly, the things I do in my spare time).

In the Mirror of Galadriel, Frodo had an actual vision of this Eye: "The Eye was rimmed with fire, but was itself glazed, yellow as a cat's, watchful and intent, and the black slit of its pupil opened on a pit, a window into nothing."

The second design is one that will be familar to those of you who've bought the remastered CD version of "In Durin's Halls (Return To The Mines Of Moria)", as the panoramic mountainous expanse depicted is the same as used on the cover of that album. In Nazgul's view you'd have to go a long way to beat the silent majesty of a mountain landscape like this one, and this single image manages to visually capture the sense of grandeur and wonder contained in the epic sounds unleashed on that particular album.

The final wallpaper design shows the unusal artwork for another Uruk Hai box-set, this time that of "Angband". It's an interesting mixture of brilliant colour amidst a predominantly grey-tone landscape, with ghostly ring-wraiths and mysterious machined cogs floated high in the background. Are they part of the inner workings of the sinister iron fortress of Melkor itself...?

The video track on this disc is a smidge over two minutes in duration, and to the edited tones of Hugin's ambience one witnesses a stange video: a distant blurred spotlight weaves and bobs around amidst a predominantly black field of view, with white circular patterns forming to the left and white of the screen. Doubtless terribly metaphorical of a journey through Darkness to light, or something equally cunning...

As an addition to the Darkness box-set, a great comendium of miscellanous Uruk Hai goodness!

BATTLE OF THE SOUTHERN FLAME

2011-07-16T16:04:00.003+01:00

Band: URUK HAI
Title: Battle Of The Southern Flame
Format: Cassette release on the Hosts Of Darkness label , run by Grav of Italian black metal horde Orcrist. A 2010 release, catalogue reference HOD002, with glossy colour double-sided inlay.
Edition: Hand-numbered edition limited to 33 copies

Track Listing:
01. Battle Of The Southern Flame 13.43
02. Piano Suite (Conan soundtrack cover) 5.48

You may distantly recall that on 15 January 2011 Nazgul reviewed the four-way split tape release featuring Errako/Morgvir/Nihiubtrath/Uruk Hai. On this particular split tape Uruk Hai contributed this very 'Battle of the Southern Flame' song. At the time of that earlier review, Nazgul was not over enthusiastic about this particular Uruk Hai recording. Given a few months to revisit and to re-listen to the piece, however, it's fair to say that the original review was a little hard on the song, so here is an excellent opportunity to put the record (tape?) straight.

It's something of an epic song, and kicks off with a segment not unlike an orchestra tuning up. Thereafter, there is all the usual lush Uruk Hai/Hugin orchestration and plenty to enjoy as the vibes of an epic journey into fabled realms wash over you. At the time of the original review Nazgul wondered if he was judging the song unfairly against the other bash-it-and-run contenders, and in retrospect I think this may be part of the problem. This particular Host of Darkness demo tape gives a proper context to the song, complete with one of the very few inlays to show Hugin in person, and on a blustery wet day as it is here at Castle Nazgul this afternoon one can't help but to warm to this song anew.

As a bonus, this short tape features a second song: Hugin's piano vesion of the Conan the Barbarian soundtrack (original film score, not the new version from the remade 2011 film). At nearly 6 minutes in length it's far more than a cheap throwaway cover song, and in fact forms part of a entirely separate 4 song Uruk Hai demo tape "The Barbarian" on Wulfrune Worxx that was released as a tribute to the musician who crafted the Conan score, Basil Poledouris. That's another interesting release that Nazgul will be covering soon on these very pages.

With history now adjusted to give this song a fair trial, it's playing once again here in the vaulted Castle halls as I type as a reminder that even Nazgul doesn't get it right first time, every time. What a strange world we live in, to be sure...

S.T.R.A.N.G.E.

2011-07-16T13:02:00.005+01:00

Band: ILL
Title: s.t.r.a.n.g.e.
Format: A cassette-only release (Nazgul presumes) released through the Smell The Stench label (Australia), date unknown, no catalogue reference. The tape comes with a blue photocopied inlay and is in a standard commercial C60 style.
Edition: Limited to 22 hand-numbered copies

Track Listing:
Side 1
01. s.t.r.a.n.g.e #1 29.32
Side 2
02. s.t.r.a.n.g.e #2 29.39

Well, the consensus from the recently ended poll here on Honour and Darkness was that you were super-keen to get to grips with an old - yet mysterious and previously unknown - project of our favourite son of Austria. Who could blame you?

And yes, Hugin's only gone and done it again - just when you thought that there couldn't possibly be any more unheard of past projects lurking in the shadows, he re-discovers this one out of goodness knows where! It's old, it's evidently been absent without leave over the years, but now it's back ... and it demands your attention: this is "s.t.r.a.n.g.e." from recently the re-discovered and short-lived project, ILL.

Hugin takes all the credit for unearthing this one (from a dusty archive in the cellars of W.A.R. one has to assume) as the world at large - with the possible exception of Leigh Stench at the STS label - has missed this one completely, and even Hugin himself seemed to have forgotten all about the existence of this ILL demo until recently!

Such bizarre circumstances seem to add to the growing body of evidence that suggests that Hugin must actually have the ability to create and record demos whilst asleep, thus his conscious being isn't always fully aware of the somnambulistic activities of his other self until their musical paths inadvertantly cross in chance encounters...

You don't need old uncle Nazgul to tell you that nothing exists on the internet about this release: of course it doesn't, apart from being listed on the STS web-site under the 'sold-out' section of older releases. Amusingly enough, though, type into the UK version of Google the words 'ILL' and 's.t.r.a.n.g.e.' and the first link considers whether the strange bowel movements of one poor unfortunate may constitute a serious illness: very appropriate for a release on the Smell The Stench label, methinks...

The cover art of this release (Nazgul's copy being #3 of the 22) is a rather strange depiction in its own right, and quite honestly it's difficult to see quite what's going on here. It could conceivably be a monster/animal/thing falling upon (devouring?) a human victim, as a large pair of feet seem to be sticking out to the far right of the image with something large and menacing on top of the rest of the body. Frankly though, Nazgul's not sure what's going on here...

...Which also may be an appropriate link to the music! ILL are described inside the inlay as 'postnuclearhumandeathnoize', so we are all about to enter on a voyage of discovery here as Nazgul has yet to crank up this tape (received only this week from Hugin, with no additional information) on the Castle death-deck. This really is unexplored territory. Based on this description one might presume it's going to be more in the weird and wacky vein of a Bonemachine or a WACH song than it is likely to present the harmonious natures of an Uruk Hai song, or battle-crazed savagery of a Hrossharsgrani demo. However, we shall see.

And what's with the title of this demo? Is it, in fact, a cunning acronym or merely the word 'strange' with dots between the letters? Perhaps, in fact, the title might stand for 'Sundry Taped Rubbish And Nazgul Gets Enthused' or even 'Surreal Transcendent Recordings Are Not General Entertainment'?! It's so mysterious it's impossible to know.

Onwards and ever upwards, however: let's hit that play button and see what emerges from the speakers... And the answer is - early industrial musings that wouldn't seen out of place under the Bonemachine banner. Side 1 is a lengthy and repetitive set of poundings, hammerings and general industrial/machine-derived noise (with the odd burst of female 'voals') that thrusts the listener into being the witness to the death throes of an inanimate metal monster. Side 2, conversely, whilst starting off with a noise that sounds horribly like the sucking of brains out of a skull, develops into a rather cool sci-fi/spacey influenced track that would sit very nicely on the Bonemachine discography circa the online "Extraterrestrial Death" recordings.

Nazgul was rather taken with 's.t.r.a.n.g.e. #2' and when the time finally arrives that an Honour and Darkness compendium album appears to celebrate some of the more obscure elements of Hugin's output, this song will feature.

When pressed on the subject of the ILL project by your intrepid scribe, Hugin's comment on all of this was, "with ILL I wanted to do something noisy but still atmospheric - it was just this 1 release only, I never wanted to do more with ILL :-)"

Although lost to history, it's actually quite an interesting release: Although it exists as a short-lived project in its own right, this tape links the sounds of a very early Bonemachine project to some of the middle-period output of the band around the "ET Death" release as previous mentioned, and as such shows some of the developmental thinking on Hugin's part as his concept of industrial/noise output developed. All good stuff.

Somewhere it has to be imagined that the other 21 copies of this demo must exist (either that, or there's a box of them in Australia waiting to be sold), so if by any remote chance anyone reading this Blog out there in the big, wide world has one then Nazgul suggests you dig it out, dust it off, and see what you make of it.

ABSINTHE - update

2011-07-08T14:57:00.003+01:00

Band: B-MACHINA
Title: Absinthe (Oder Das Andere Licht Der Wahrheit)
Reason for update: A closer look at the unusual packaging of this album...

Perhaps one of the more unusual updates we've had on Honour and Darkness it's true, but the lack of new B-Machina items to review means that desperate times have led to desperate measures being taken!

This B-Machina/Kreuzer split release was a tribute to Georg Trakl who, as we now know following the original review of this album on 10 April 2010, was an Austrian poet and is considered one of the most important Austrian Expressionists. He was born in Salzburg in 1887 and died on 3 November 1914 at a military hospital in Kraków, Poland. At the beginning of World War I, Trakl had been sent as a medical official to attend soldiers in Galicia (comprising portions of modern-day Ukraine and Poland).

Trakl suffered frequent bouts of melancholia. During one such incident in Gródek, Trakl had to steward the recovery of some ninety soldiers wounded in the fierce campaign against the Russians. He tried to shoot himself from the strain, but his comrades prevented him. Hospitalized at a military hospital in Cracow and observed closely, Trakl lapsed into worse melancholia and wrote to friends for advise, but died of a cocaine overdose before they could come to assist him.

Trakl wrote both poetry and prose, and his work includes Gedichte (Poems, 1913), Sebastian im Traum (Sebastian in the Dream, poetry, 1915), Der Herbst des Einsamen (The Autumn of The Lonely, 1920) and Gesang des Abgeschiedenen (Song of The Departed, 1933).

A page of one collection of Trakl's work adorns the outer jewel case of each of the 50 copies of this CD released through Beverina & WAR. Nazgul was privileged to receive his copy wrapped in the colour cover of the book, as opposed to a black and white printed page, and this is shown in the accompanying photograph. Some time ago Hugin included the remnants of the actual volume from which the pages had been taken in a supply parcel from WAR to Castle Nazgul, hence the reason why you are being treated to the sight of a seriously mangled paperback!

Another innovation in CD packaging from the wilds of Austria, and a nice addition to the other weird and wonderful Bonemachine/B-Machina tape and CD packaging that we've enjoyed over the years. It's an odd thing to have a half destroyed book in the middle of a collection of pristine items, but think of it as evidence of the hand and creative genius of Hugin at work!

That's pretty much all there is to say on the subject, really, so let's end with a totally random piece of trivia: did you know that an anagram combining the words 'B-Machina' and 'Georg Trakl' makes the phrase 'Blackheart or Gaming'? Sounds like the title of an album from a dodgy hair metal band from the early 80's...

MUSIC FOR THE RISING SUN [V/A]

2011-07-07T17:00:00.003+01:00

Band: Ceremony Of Innocence
Title: Music For The Rising Sun [V/A]
Format: Digital download album created in 2011 and in 7 parts, available via http://mftrs.bandcamp.com. This compilation is designed to raise funds for the relief programme in Japan following the 2011 earthquake and tsunami, and has been co-ordinated by Aaron Russell of Impurfekt.
Edition: Available in unlimited download

Track Listing:
Part I
01. Rarefaction - For Ophelia and the Silent Sea 02:05
02. Marching Mind - Mission 03:23
03. Red This Ever - Only Survivor 04:22
04. The Oedipus Complex - Descend the Ascent 05:06
05. Anti-m - Deep 05:21
06. Fantome - Emerald Coast 04:27
07. Esoteric Sob (featuring Cellar Door) - Little Moments 04:55
08. Mezzamo - My Spaceship 04:17
09. Dudley Ghost - White Cherry 05:23
10. Cybo - Aqueous 03:18
11. Paula - The World Stands with You Now 05:43
Part II
01. Apparent Symmetry - Control Theory (r.roo Remix) 04:19
02. Fluxussyndrom - The Telling of Aikenn Drum 03:39
03. grauraum - Out of Ashes 05:39
04. ArcRunner - Umi 04:22
05. Nameless City - The Past 05:34
06. The Ghost of 3.13 - Overcome 03:59
07. r.roo - Birds 05:45
08. New Army - Kyoto Majestic 04:54
09. Pandora's Black Book - Burrowers 05:28
10. Miktek - Cracks on the Surface 05:44
Part III
01. Phantoms of the SS - The Persistent Heartbeat 04:40
02. Proyecto Alienoxir - The Rising Sun Nation 04:41
03. The Seventh Necronation - With this Life 04:45
04. Roughhausen - Voltage Control 05:41
05. First Aid 4 Souls - exJESUSnow (The Game) 04:34
06. R.I.P. - Temporary Evacuation (Ad Inferna Remix) 04:55
07. Systemshock - (I Take) The Sun 04:50
08. The Alacrity - Smoke and Mirrors (Alacrity Mix) 04:19
09. Dead Frail Honesty - Grasping for Air 05:36
10. LPF12 - For All That's Been Achieved 05:24
Part IV
01. A Bleeding Star - From the Depths of Orient's Ashes... 03:48
02. Access to Arasaka - Ninsei 04:21
03. Counterfiet i - Ikeru 04:31
04. Spunx - Where are You Atsuko 03:06
05. Schlafstoerung - Human 05:02
06. Scapegoat - Kaiju (The Demons Return Once More) 05:25
07. Verney 1826 - Sunrise 04:05
08. iN sCissorS - Adjoined Twins 06:33
09. Lisa Hammer - The Saddest Day of All 04:40
10. djozr - Dawn (White Day) 06:57
Part V
01. Nux Vomica - As I Searched for Answers 06:03
02. Starchasm and Protea - The Bardo of the Experiencing of Reality 04:42
03. XSRY with Kenji Siratori - Angel Mechanism 02:55
04. The Craft - Dark Angels 02:33
05. Gary Flanagan - A Train Passes by Mount Fuji 04:03
06. e-gens - I Can Touch the Sun 04:38
07. Eric Hausmann - Kimigayo 02:00
08. Tears of Nature - Scars of Gaia 05:59
09. Louis Guidone - Soaring Spirits 05:45
10. Chris Givens - Earth Changes 05:45
Part VI
01. 1 Phantom - The Skyline from Kyoto 06:51
02. Galati - Feels Like I'm Breaking Up Inside 05:21
03. Botham - Journey 05:25
04. A Fallen Mind - Illuminate 05:18
05. Johnny S. Pizano - 4 Japan 01:57
06. Rebischung - Aquatica Lucis 05:21
07. Testube - Mitate 04:06
08. Union of Intentions - Forever Japan 03:27
09. soundedit - mntjnt 03:52
10. Ceremony Of Innocence - Japanese Morning 09:55
Part VII
01. Kimber Bennet - Everything Will Be Okay 05:00
02. Geodesic - Denki 03:08
03. Biel Oliver - Villa Lilian 05:47
04. impurfekt - For the Rising Sun 06:01
05. Levkoy - Straight Off 04:33
06. United Gods - S.G.G. 0102 03:42
07. Heart of Thorns - Yin-Yang II 04:32
08. Wolfskill - Pinprick Melodies 02:20
09. Automating - Unideation 04:55
10. Josef Nadek - Meltdown 05:48

Were you to cross the drawbridge of Castle Nazgul and negotiate yourself past the portcullis and other outer defenses, you would emerge into a central cobbled courtyard, in the far left of which is a small wooden door at the foot of a lofty spire, draped in variegated ivy and scarred from sieges long since past. Enter through this door and proceed up the spiral stone staircase and you will emerge onto a landing where a small, hunched figure sits on the floor, blue in the face and distressed in appearance. The reason for this sight - this sad figure is the COI fan who has been holding his breath since the release of the band's "Der Rote Glanz Der Flammenfee" album back in 2008 (see post for 24 June 2009), waiting all this time for that elusive second album...

Yes, it's been an awfully long wait for any new COI product. However, the presence of a track on this enormous compilation (which manages to put even the recently reviewed 46-song SkullLine 5th Anniversary release in the shade) gives some sustenance to an audience suffering from a severe drought of available material. But before we get to the song, let's consider what this project is all about.

Some context: four months on and relief efforts are still underway in the wake of the 11 March earthquake and subsequent tsunami in Japan. Beginning his efforts on the day of the disaster, Aaron Russell of Impurfekt spearheaded work on a charitable compilation entitled "Music For The Rising Sun" with 100% of profits going to fund Red Cross efforts in Japan. Impurfekt, an American project on the Shinto Records label, is described on www.impurfekt.com as "dark electronic music ... most influenced by artists such as Velvet Acid Christ, In Strict Confidence, [:SITD:], Massive Attack, Enigma, The Future Sound of London and composers Michael Kamen and Akira Yamaoka."

Featuring over 90 different acts from the Electro-Experimental, Gothic Rock, EBM & Neo-Classical genres, "Music For The Rising Sun" is chock full of brand new tracks, recorded exclusively for this release. Another different element to this compilation is that it is planned to be serialised in IX parts, each being released on a weekly basis, keeping the ball rolling and the relief effort constantly in the public eye. So far we're up to Part VII, so there's still more to come although at this time Nazgul believes there will not be any more Hugin-related material on the remaining parts. Apparently the original plan had been to enlist enough bands to make a double-CD release of material, but the sheer number and quality of compositions sent into Aaron led to this novel approach being taken.

Speaking on the Shinto Records website Aaron Russell said, "At its heart, Music for the Rising Sun is an international community effort. Musicians from around the globe have donated time, passion and inspiration for the benefit of Japan. It is our sincere desire that our music will inspire others to give to those in need. We also wish for the people of Japan to feel our compassion and support during this unimaginable trial."

Thus what we have here is an immensely worthy cause that you can visit via the BandCamp link and purchase each part for whatever you feel is a fair price to pay. You can actually donate once and then download anything between just one and all parts of the available music, so there really is no excuse not to dig deep and have a look around this site as all funds received will be transferred to the American Red Cross for the Japan Earthquake and Pacific Tsunami effort.

Now, let's have a listen to the COI track itself, called 'Japanese Morning' (note the cunning play on words, fitting of former Skyclad vocalist Martin Walkyier). The first thing that is evident is that this sounds very little - save for one section right at the end - like the Ceremony Of Innocence we've been used to in the past (cue sound of blue-faced man in tower crumpling to the floor in disbelief). Instead, the sombre tones and melodies, together with some 'clean' if dead-pan vocals from Hugin, give the piece a fitting timbre that is almost gothic in nature at times. In fact, it sounds not dissimilar to Solid Grey, which perhaps is a reflection of the state of mind Hugin was in whilst recording this track.

Following an almost dirge-like bass introduction, a light yet sad-sounding melody of keyboards and an early vocal appearance from Hugin, we're off and running! As the song develops there's an unexpected but most welcome appearance from an electric guitar, amidst the more normal mixture of synthesised drums and keyboards that weave a sonic tapestry around the lyrics. There's a lot going on here, and whilst the song might take a few listens become familiar, you can't doubt the effort it must have taken to pull it all together.

The lyrics from the song are reproduced below, and show insight into the emotional and traumatic issues going on in Japan at the time, whilst reflecting on a personal state of 'emotional meltdown' as a apt metaphor into Hugin's own feelings.

I’ve got up with a certain premonition
And felt the world is so much different today
I switched the TV on and realized
A global - a global disaster is underway

Although they keep telling you
The situation is in hand in the power stations over there
Millions of people run for shelter
And I can’t do anything but sit and stare

So I can feel
My next emotional meltdown is approaching …
I try to contact you by all means of communication

But eventually all lines to - lines to Tokyo are dead
I do remember those happy days we spent together
There is no moment that I do regret

So I can feel
My next emotional meltdown is approaching …

This state of uncertainty drives me crazy
More and more and more I try to make believe
That you are – that you are still alive
But there is no sign from you that I so desperately seek
So I can feel

My next emotional meltdown is approaching …

I know my security system is about to fail
I try to keep - to keep the pressure low
I’m so afraid – afraid of losing you
There is no way to keep me in the flow
My next emotional meltdown is approaching...

Ultimately it's a cause well worth supporting, and gives the splendid opportunity to investigate a host of new music at whatever cost you feel is a fair one to pay. Go on - make a difference.

URUK HAI / FUNERAL FORNICATION split - update

2011-07-06T17:39:00.002+01:00

Band: URUK HAI
Title: Uruk Hai / Funeral Fornication split
Format: Cassette release on the Wulfrune Worxx label (France) from 2011, cat ref WW199. As usual with WW releases, there is a standard format C60 style tape contained within a copied black and white inlay. The cover features different artwork to the CD version released in 2010.
Edition: Hand-numbered in an edition of 100 copies

Track Listing:
Uruk-Hai
01. Orcish Battle Hymn (Introduction) 01:36
02. March to War 12:31
03. Death is Just Another Path... 08:01
04. Cirith Ungol (edited version featuring Pr. Sergiy of Moloch) 11:39

Funeral Fornication
05. The Weeping Tree 05:42
06. Stargates Eternal Beheld My Nightmares 06:45
07. Chamber Below the Abyss 05:35
08. The Keep (Solstice cover) / Obsidian Tarn 07:50

It was only a short while ago - 17 April 2011 to be precise - that Nazgul covered the split CD release between these two bands issued on Hypnotic Dirge Records: the meeting of the depressive black metal of Funeral Fornication of British Columbia, Canada and the dulcet tones of our very own Hugin of Linz, Austria. As such, there's little to add to the description of the musical content of this split release save that the Uruk Hai stuff really is worth treating your ears to should you not already have heard it.

The mighty 'March To War' rumbles along like a invasion of the infidel whilst 'Death Is Just Another Path' is a magical mystery tour through Tolkien's deepest terrains. 'Cirith Ungol' is represented in very truncated form, and this song will be covered in more detail when Nazgul finally gets around to collating the myriad of versions on CD and tape that he has of this particular track - it's apparently becoming as ubiquitous in 2011 as 'Gil-Galad' was in 2010...!?

Unusually, the tape version of this split has been issued after the CD pressing: in recent times, for the majority of Hugin's releases coming in multiple format, the demo versions tend to come first on tape followed by a CD or CDr release with the final versions of the songs. Bucking the trend and being ever unpredictable, this reversal of the pattern puts 100 tapes out into the world (Nazgul's copy is #52) presumably in order to sate the collector's frenzy of Huginophiles everywhere, some of whom may have missed out on the CD pressing. And why not - there's a certain old school charm about the tape format, and it creates an opportunity to create a new piece of design for the cover for us to enjoy!

5 JAHRE SKULLLINE [V/A]

2011-07-05T22:42:00.004+01:00

Band: HREFNESHOLT
Title: 5 Jahre SkullLine / 5th Anniversary SkullLine [V/A]
Format: DVD released on the SkullLine label (Germany) in 2010, cat ref DVDR100-10. The release celebrates the fifth anniversary of the label and compiles 46 audio tracks onto a DVD disc, housed in a slimline DVD size case. There is a more limited edition steel-box version that comes with additional goodies (sticker, pin, shirt, etc) along with a 100 track USB containing rare demos/songs.
Edition: Standard edition limited to 100 hand-numbered copies. The steel case edition is limited to just 50 numbered copies.

Track Listing:

SECTION 1. FOLK - MILITARY POP
01. Angry Young Formation - Masters Of Silence
02. Argheid - Innocent Eyes
03. Barbarossa Umtrunk feat. Schattenspiel - Vive le Quebec Libre
04. Droefheid - Alarm
05. Durch Herr und Kraft - Câteau de Trianon (French pre-version)
06. Gabe-Unruh - Heimat Guben
07. Heiliges Licht - Am Ende des Tages...
08. Hrefnesholt - Hexnfeia
09. Hybryds - Never trust an Angel (Vocal Mix)
10. In Scherben - Sachsenland
11. J Orphic - Scisma
12. Kazeria [KZ] - Marching Solstice
13. L'Effet C'Est Moi - Rite Nacht
14. Primeval Existence - Roar of the Warchiefs
15. Rose Rovin E Amanti - My Blacky Europa (early demo version)
16. Shattered Hand - Dreaming of Prypiat
17. Sinweldi - Jeunesse Nationaliste Révolutionnaire
18. Stormfagl - Ve er!
19. Strydwolf - Frii Es De Estsang (Mantra)
20. Truart - Panzertanz (Tribunal version)
21. Zr19.84 - Beautiful Lies

SECTION 2. INDUSTRIAL - AMBIENT
22. Nocturne - Un Dimanche dans la Gorge (avec Jule à la guitare)
23. Svart1 - Display of Hate
24. Area Bombardment - Baile Átha Cliath 1916
25. Bleiburg - Concept of Reality
26. Brandkommando - Cops
27. Camisole - Clitoridian Temple
28. Disciplina Urbana - Industrias Tóxicas
29. Eldar - Silence in the Wind
30. Electric Uranus - 3min
31. Erntegang - Parker Barrow Memorial
32. Escuadron de la muerte - Cruz de Hierro
33. Forests And Communism - Raindrops
34. Founiersches Gangraen - Total War
35. Front Sonore - Skeleton Dance
36. Grabstein - V2(44)
37. Irikarah - I will
38. Kaelteeinbruch - Grey Ships
39. Kenji Siratori - Ground Scream
40. Kristus Kut - Disco Fever
41. Life's Decay - Feythium
42. Nuevo Ideal Nacional - Hvetramannaland
43. Siege - A Honorable End
44. Zyankali - Gefahr im Verzug
45. Melek-tha - 8,42 Good
46. Ierophania - Ritual of Rising Child

Celebrating the 5th anniversary of the German SkullLine label (www.skullline.de) is the reason for the existence of this monster of a compilation album featuring a raft of songs from bands associated with, or released through, the label. It's a mighty affair too, cramming the artists on thick and fast in two 'sections', the first covering Folk and Military Pop, the second Industrial and Ambient sounds. The reason for this release coming onto the Honour and Darkness radar comes from the Hrefnesholt song located at track 8 of the first part (firmly in the 'Folk' section).

As a passing thought, it seems strange that the label hasn't seen fit to include a B-Machina track on the Industrial or Military Pop sections of the release. This is especially so when Kaelteeinbruch are represented with the same 'Grey Ships' song that was on their split release with B-Machina marketed through SkullLine only recently (see Blog of 19 June 2010)? Ah well, beggars can't be choosers, and the presence of just one of Hugin's many projects still makes this a note-worthy release for us to consider here.

Surprisingly there is very little review of this release online, which is strange given the 'usual suspects' (Heathen Harvest, et al) who positively revel in this type of thing. Unsurprisingly, Nazgul is not going to wade through 46 separate songs to give you his informed view on all of them as - quite frankly - there's not enough time or available willpower to face up to that particular task. Instead, let me just note that the majority of bands on this album are unknown to me although a few familiar names loom up out of the track-listing: notably the aforementioned Kaelteeinbruch, Kenji Sirotori and Rose Rovin E Amanti from their past collaborations with Bonemachine/B-Machina, along with one or two others that ring a vague bell from reading reviews of other compilations.

The Hrefnesholt track 'Hexnfeia' is a song familiar to Hugin fans already from the 'Uraungst' CD and advance tape releases, and fares well in this setting as an interesting introduction to the band. That's rather the point of these sorts of compilations of course, and spending some quality time with a release like this should enable a casual listener to find a few projects that hit the spot and avoid others that are most definitely not to one's taste. As described in some detail in previous posts, the 'new' attitude struck by Hrefnesholt really does hit the mark as far as Nazgul is concerned, and Hugin really deserves critical acclaim for trying something fresh and new without losing sight of the early roots of the band's output.

In usual SkullLine fashion some care and attention has gone into this release: who can forget, after all, the Minimal Baby collection in deluxe version complete with a baby's nappy! The steel-box version (happily) fails to be quite so strange but offers some interesting additional content and comes in a pretty collectable item with only 50 being made, albeit at nearly 50 Euros in price (see image below). This cheaper version offers the same essential musical experience for a much reduced price, and really if you have a passing interest in one or two of the genres covered it has to be seen as a value for money purchase.

WRATH OF THE RING

2011-06-30T19:30:00.003+01:00

Band: URUK HAI
Title: Wrath Of The Ring
Format: A cassette tape release from 2010 on the Wulfrune Worxx label (France), cat ref WW163. Black and white copied inlays, standard C60 style commercial tape. The copy pictured has been dedicated by Hugin in silver pen.
Edition: Hand-numbered edition of 111 copies

Track Listing:
Side A
01. Wrath Of The Ring part I
Side B
02. Wrath Of The Ring part II

Another Wulfrune Worxx-released Uruk Hai demo from the prolific 2010 period, where Hugin seemingly was on a roll in terms of composing and releasing material from his perennially popular ambient project.

In much the same vein as other contemporaneous demos from the project - "The Lord Of The Rings", "Ash Nazg..." and the "Darkness" series - this is a lengthy and wholly instrumental ambient adventure into the shady forests and snow-capped peaks of a world far more enchanting than our own. Hugin, effortlessly assuming the mantle of the Pied Pier of Linz, leads his listeners on another epic and glorious journey into realms of mystery and magic, where anything is possible...

It must be said that this is a very gentle journey in musical terms: there is little 'wrath' on display here if one takes literally the dictionary definition of 'deep or violent anger, indignation or rage' as a yardstick against which to gauge the material. Any expectations of a bombardment of vicious guitar riffs or evil shrieks are soon headed off by the lush, relaxing tones of Hugin's trademark keyboard patterns and fills.

It's not to say that this is a demo without verve, oh dear me no, but it makes for a dreamy, occasionally distant listen. It conveys the sounds a traveller might hear floating on the winds as they edge around the borderlands of Mordor in the mountain passes of Cirith Gorgor, or whilst cutting a path through the overgrown, winding trials in Mirkwood. There's a range of synthesised instrumentation contained in the piece (the song is effectively split into two parts on either side of the tape) and if you're attuned to Hugin's mastery of all things keyboard-based then you'll have a pretty good idea what to expect from this demo.

The version of the song on this tape, incidentally, is advertised on the inlay as a first take rehearsal version of the track that is unique to this Wulfrune Worxx edition. A (presumably) revised version on CDr appears on the latest limited edition box-set release "Gorgoroth (The Land Of Darkness)" on the Tryby label, more of which at a future point.

Credit must be given to the enigmatic Skogen at Wulfrune Worxx for his ongoing support to Hugin's various projects in the issue of these limited edition demo tapes, many of which must be sold out almost as soon as they emerge from WW HQ in France. Without the backing of underground labels the availability of music like this would be practically non-existent: they are the very bedrock of distribution of a physical product as opposed to digital download, and long may that situation continue.

In conclusion, for an enjoyable if undemanding excursion into the majestic wilds of Middle-Earth you could do far worse than to play this through a quality set of headphones and let yourself drift...

DER PFED ZUM TOR DER TOTEN - update

2011-06-24T17:05:00.004+01:00

Band: HROSSHARSGRANI
Title: Der Pfed Zum Tor Der Toten
Format: Cassette tape released on the Wulfrune Worxx/Chanteloup Creations label (France) in 2010, cat ref WW200 / AWE00-02. Black and white copied inlay, inside of which is a Hrossharsgrani 'business card' promo insert. Contains 4 bonus tracks over the 1999 CDr release.
Edition: 200 hand-numbered copies

Track Listing:

Side A
01. Der Pfad Zum Tor Der Toten
02. Schönheit Gibt Es Nur Im Kampf
03. Schwerter & Äxte
04. Blut Pt. 5
Side B
05. Heimfahrt Nach Hördaland
06. Barbarenblut
07. Bußfertigkeit
08. Anämisch In Einem Universum Auf Blut
09. Heideks Ende
10. Blut Pt. 6

Continuing the re-release of classic Hrossharsgrani releases from years gone by, the Wulfrune Worxx label in deepest France has contructed an absolute monster of a tape here with the newly remastered "Der Pfed Zum Tor Der Toten" (The Path To The Gate Of The Dead). Reviewed back in the early days of Honour and Darkness on 23 April 2009 in its CDr pressing, this latest version has 4 additional tracks and comes in an equal quantity to the CDr version - 200 copies. This latest tape has also been given all new cover art - another effective Middle-Earth battle scene complete with siege towers and an armoured horde of thousands - and Nazgul's copy (#8 of 200) bears Hugin's signature too.

"Der Pfed Zum Tor Der Toten" was always one of the less common releases from Hrossharsgrani's early years to stumble upon. Although a good many of the band's early demos turn up eventually in one form or another, many years of collecting has only ever uncovered one sole copy of the CDr pressing and the original tape release - in a quantity of 33 tapes and with 3 more songs than the CDr, one less than the recent version - Nazgul has yet to come across even now. Consequently the demo being reissued in 2010 should be cause for celebration, and will give a few more happy devotees the chance to purchase a copy for their own collection.

As noted in the original review, this demo differs slightly from other Hrossharsgrani work of period by having a greater tendency to employ guitar higher in the mix as opposed to keyboards, hence the memorable riffs are often the guitar ones and not derived from synthesiser. The clarity in the remastered sound brings this nicely to the fore and whilst the drumming still sounds a little like Hugin was thrashing the kit to within an inch of its life whilst falling down a flight of stairs, the overall effect is a positive one. One aspect that the re-issue has taken full advantage of is the augmentation of choral parts on some of the tracks, where the much improved sound (and what sound like newly added sections) really give a sense of grandeur that the original demo didn't possess.

Of course, polishing up and remastering a Hrossharsgrani demo the late '90s is a little like taking a sabre-tooth tiger for a manicure - sure, those claws may look nice and clean, shining brightly in their new gloss, but they'll still tear your throat out at the drop of a hat. The sound may be much improved, and the new tracks (three of which presumably were on the original tape version, although not having a copy prevents Nazgul from confirming such) are very welcome, but make no mistake about it: this remains music for people who like their steaks raw and bloody!

SO ALONE

2011-06-18T13:49:00.003+01:00

Band: SOLID GREY
Title: So Alone
Format: Currently available as a downloadable file at the http://solidgrey.bandcamp.com website.
Edition: unlimited download

Track Listing:
01. So Alone 8.31

Following the mini-interview with Hugin in the last post, a follow-up plea from W.A.R. Productions arrived at Castle Nazgul requesting that an addition be made to advertise the fact that the first downloadable Solid Grey track was now available via the http://solidgrey.bandcamp.com pages.

Nazgul thought he'd go one better that a simple addendum to the interview, however, and thus here is the first review of Solid Grey material (hmmm...that sounds a tad unpleasant written like that, but you know what I'd getting at) on Honour and Darkness.

The track in question is 'So Alone'. Recorded in Austria & Belgium in January/February 2010 it features lyrics by Bart Piette (of Dead Man's Hill) and music from both Mr Wieser and Bart. The track was mastered at Luftschutzkerker, Switzerland in May 2011 and should be included on the band's debut album "Pull The Strings Tighter", due for release around November 2011.

If you've not already rushed off to download your own copy to listen to, then let Uncle Nazgul tip you the wink here and now to say that this is very different to Hugin's other musical musings! Solid Grey encapsulate that magical time of the early-mid 1980's when Gothic rock (as opposed to Gothic metal a la Within Temptation, Tristania et al) ruled the airwaves. We're back in the heyday of bands such as The Mission, Gene Loves Jezebel, and Fields Of The Nephilim, when black coats and The Cure t-shirts ran rife on the streets of Europe and dead-pan vocals and 'moody' music whirled around your ears in a bat-winged vortex of despondency.

Now, depending on your age and musical inclinations this new direction is either a highly enjoyable trip back to 'the day', or a possibly baffling excursion into new territories hitherto unexplored. For Nazgul, himself a teenager in the heady days of the 80's, it's all rather good fun and wholly reminiscent of the scene at the time, which one imagines was the point of this particular collaboration: nothing that's likely to set the world on fire, but some good honest music in a genre whose embers still burn on and refuse to extinguish.

If this is a taster for the album to come then it would seem that we're in for a treat.

If you've not already rushed off to download your copy of this may I politely request that you do so, thus supporting another venture from our favourite Austrian (and Belgian!), and expand your musical universe just that little bit more.

I'm sure Bart and Alex won't mind Nazgul reproducing the lyrics to this track as they are already printed at the Bandcamp site, so here they are:

Never again they'll leave me here
Without windows to look outside
Trapped in a prison of flesh
Without windows to gaze outside
There's nothing I can do
I want to take a deep look
Into the inside of me
But all the doors are locked
The unavoidable loneliness comes up
which has nowhere to go
Totally trapped in myself
Trapped in eternal loneliness
This is the sound of solitude
the feeling that will never pass
trapped between the white walls
The soul is imprisoned, and forgotten

Wondering what Hugin's been up to...?

2011-06-16T17:57:00.006+01:00

...then wonder no more!

Anyone with even a vague interest in Hugin's music cannot help but notice that it's been rather a quiet start to 2011, particularly when compared to the positive avalanche of releases that came our way throughout 2009 and 2010. The reasons for this are both complicated and personal, and this isn't really the place to consider them. One dark evening this the week, however, Nazgul and Hugin arranged for a quick catch-up (the fire beacons atop of Castle Nazgul proving to be surprisingly efficient at sending and receiving messages to and from the deep Austrian woods) for a straight-from-the-horse's-mouth run down of current activities at W.A.R, all purely for your edification as part of Honour and Darkness' most honoured readership.

Before we begin though, it appears that Hugin has added another string to his bow - literally! The photographic evidence shown here would indicate that 'Alex Longshanks' may well be a distant relative of Robin Hood and is, by all accounts, something of a crack shot. Local gossip suggests that more than once the spoils of victory in bow shooting competition have gone to our musical maestro. Co-incidentally, Nazgul happens to know that the 1st world match-crossbow championships were held in Linz in 1979, so from this we can glean that (1) it's clearly a region that is steeped in shooting tradition, and (2) is probably not the best place to practice your party-piece impersonation of wild animals...

But we digress, so let us drag ourselves back to the main theme of this interview...

Firstly, Hugin, welcome back to the pages of Honour and Darkness! It's been a while since we've had a 'formal' interview with you here, although your ongoing support and contributions are always very welcome of course! Have you a message for the ravenous hordes of Blog readers that follow your work?

Yes! Thank you all for your great support over all the past years - it's just so appreciated! When I started out 13 years ago with a simple Yamaha keyboard and recorded the first Hrossharsgrani tracks I never NEVER thought about such success or popularity! Thanks guys - you are AWESOME! By the way, I still use that Yamaha on some tracks!

So, straight onto the million dollar question for all of your fans - what is currently being planned and/or recorded in respect of what we might call your three 'main' projects: Uruk Hai, Hrefnesholt, and Hrossharsgrani?

I need to take a little time out still, but even so some stuff is ready for release [cue festivities in the Grand Hall of Castle Nazgul]. In a few weeks Uruk-Hai's "Emyn Muil" will be released at Steel Blazes Records [the hills of Emyn Muil upon either side of Nen Hithoel were a vast maze of impenetrable rocky crags in the region of Rhovanion in Middle-Earth]. Meanwhile, Hrefnesholt will be part of the new Allerseelen tribute CD, "Mit Fester Hand". There's nothing new from Hrossharsgrani yet...

All sounds promising, and let's not forget that the Tryby label has also just released the very limited Uruk-Hai box-set collection "Gorgoroth (The Land Of Darkness)" too! Time to break open those piggy banks once again. So then, let's cover some of your other projects: what's the position with B-Machina - last time we spoke Max was very busy with other work, are any new recordings likely?

Only yesterday I met with Max and we talked about many things, including B-Machina, so I think new stuff will be recorded someday too!

Excellent, send our regards to Max - and tell him he's long overdue for an interview himself !! And how is Solid Grey coming along, is anything forthcoming from this new project?

The debut album is already recorded and mastered (at Luftschutzkerker, Switzerland), and the title is "Pull The Strings Tighter". The cover has been finished too and is by Chris H. [and here it is for you to marvel at]. Now we need to start to search for a label. I think that it might be released nearer the end of 2011 - watch out!

On the subject of labels to release things on, how has the hunt for a label to release the Drachenfeuer album "The Realm Of The Light" been going?

Sadly there is no news here. We'd really like to release this double-album because we like it very much - I think its one of the most epic albums I have ever recorded!!!

I'd have to agree here, having been fortunate enough to hear an advance copy of this release. In fact, you can revisit the post for this item from 22 May 2010 to remind yourselves how brilliant this album is. So come on - does any one out there own, or have the ability to influence, a good quality record label to get this album released? Let's make something happen! Meanwhile, have you made any more recordings with Jim Kirkwood since the Drachenfeuer sessions?

Yes, together we've recorded just one more song for the upcoming "The One Ring" compilation CD, Volume II.

Let's now turn to another project that's been on ice for a while: Manwe. By my reckoning a new demo was due around 2010/11 but other than a few tracks on MySpace nothing has materialised yet - what's the position there?

Well, one more song has been finished, again for the second instalment of the "The One Ring" series. Slowly but surely progress is being made. I also talked with Padre Adamo recently and we discussed the future of Manwe - he had some really great ideas! Yeah - really GREAT!!!

Speaking of things being on ice (a cunning segue there!), what has been the feedback like for the first Eismond demo? Is a second demo likely?

I've had good, in fact very good, feedback. People like it! I'm at work on a debut album and am working together with the guy from Funeral Fornication - he was very inspired by the stuff I have already recorded for Eismond, so I think he will do a great job as he always does with his own project.

Well, despite the break there's clearly plenty going on! Are there any other plans for 2011 that you can share with us?

I have some tracks recorded for the Hugin project, just for fun, but maybe someday Wulfrune Worxx might like to release them on tape... In respect of W.A.R. Productions, hmmm... who knows! Maybe I will release the Solid Grey debut here, but I don't know yet!

Oh, one other thing I must ask you: some on-line sources (the usually reliable Metal Archives being one) currently list you as a live/session player for the band Walpurgi. News to Nazgul if so, is this true?!

Hihihi, no!! I did do an intro for one of his recordings, but I don't know much about what happened with it as I never saw the release :-) But I do like the music of Walpurgi very much!

Well, time being what it is and Hugin and Nazgul both having to be in two places at once, that's all the gossip for now. The seriously good news though, based on everything discussed here, is that - to paraphrase a Venom album title - we've clearly been in the calm before the storm: Hugin's back!

STURMKLANG COMPILATION [V/A]

2011-06-15T21:50:00.005+01:00

Band: URUK HAI
Title: Sturmklang Compilation
Format: Card-sleeved promotional CD from the Sturmklang label (Austria) with separate glossy inner card detailing track listing. This second card is stamped with the Steinklang Industries company logo on the reverse, next to which is a hand-written edition number. Both the sleeve and inlay are professionally printed in black and white. 2010 release, no catalogue reference.
Edition: 200 hand-numbered copies

Track Listing:
01. Uruk Hai * ...Does Not Glitter 3.29
02. Orcrist * On The Wings Of Night 5.16
03. Vinterriket * Modranecht 6.34
04. Rauhnacht * Vorweltschweigen 6.45
05. Moonfrost * Ignorance 5.59
06. Death Temple * The Nightmare's Incursion 4.19
07. Golden Dawn * Return To Provenance (pre-master) 4.50
08. Woods Of Infinity * Worship Us (unreleased song from 1999) 8.15
09. Ekove Efrits * Faceless Moments (pre-master) 6.53
10. Natan * Volkskracht 15.01
11. Woodtemple * The Shields Light 7.42

Back in 2010 the Sturmklang label - the (Pagan) Black Metal division of Steinklang Industries - released their first label compilation, advertised by them as "featuring new and unreleased/upcoming tracks of Uruk-Hai, Orcrist, Vinterriket, Rauhnacht, Moonfrost, Death Temple, Golden Dawn, Woods of Infinity, Ekove Efrits, Natan and Woodtemple), free with every purchase of metal stuff from the Sturmklang shop." With only 200 copies identified in the edition (this copy being #83), one imagines that the great majority would have been given out over the first few weeks of this offer being made.

Many of the bands featured are familiar to Honour and Darkness through joint projects with Hugin: Orcrist, of course, have worked with Hugin before through various split demos, on Orcrist's own recent release "Fallen", and indeed have been interviewed in these very pages. Vinterriket is also a past interviewee, and a number of split demos and albums with Uruk Hai grace the library shelves within the castle. Golden Dawn have also recorded with Uruk Hai, this time on the extended "Gil-Galad" demo from 2010 that successfully managed to weave in their more gothic influences. Other bands here are exciting acquisitions to the Sturmklang label, not least the talented Woods of Infinity and one of Nazgul's personal favourites: Woodtemple.

Unusually for a compilation featuring an Uruk Hai song, Hugin's composition is the shortest of all on this disc. It's more normal to find a lengthy Uruk Hai song dominating proceedings, but in this case Hugin's contribution is soundly trounced in the duration stakes by all comers! Still, it's quality not quantity as Mrs Nazgul is wont to say, and in that respect '...Does Not Glitter' is a fine piece of ambient Middle Earth tinkling that hits the nail squarely on the head. Compared to the other offerings on this disc, it must be said that the light airy keyboard washes and ephemeral female vocals are in marked contrast to the blood and thunder approach of what might be called more traditional black metal compositions.

It's an interesting development of Uruk Hai's style over time that whilst early recordings might once have sounded aurally similar to other tracks on this compilation (say, for example, around the time of the "Darkness" demo) the current output of the band is far more evolved since those primordial, raw songs of yore. As Nazgul noted for another recently reviewed compilation featuring this most popular of Hugin's projects, this does make for a rather strange 'fit' when the songs are taken together as a whole. Quite what listeners new to Uruk Hai but used, for example, to the bludgeoning power of Moonfrost or Orcrist would make of '...Does Not Glitter' would be interesting to know. Probably not what they were expecting, would be the short answer....

I'm sure I hardly need to add that '...Does Not Glitter' features as track 8 on Uruk Hai's seminal "Black Blood, White Hand" album, which itself was the subject of a lengthy dual-post between Nazgul and Blog reader Lt back on 27 October 2010. Mention of said album reminds Nazgul that he'd promised to publish some previously unseen publicity photos relating to this release in a future post, so watch this space for something on those lines very soon.

URAUNGST

2011-06-10T17:28:00.005+01:00

Band: HREFNESHOLT
Title: Uraungst
Format: Digipak CD in fold-out sleeve released on the Percht label (Austria) in 2010, cat ref Percht16. Housed in an outsize colour sleeve, this is a silver pressed CD and the first official album released by Hrefnesholt. The initial recordings of Uraungst took place in the Flusterwald (whispering forest) Studio in 2009, and the album was finally completed and mixed at Luftschutzkerker Studio by Cz of Vinterriket in autumn 2010.
Edition: unlimited

Track Listing:
01. Percht (Da Einbringa) 1.11
02. I Bin Da Woid 12.59
03. Hexnfeia 5.37
04. Hoamat 5.41
05. Wurzlmann 11.51
06. Unruahnocht 3.54
07. Fuchtelmandln 23.56
08. Dunklmoos 6.53
09. Stoana (Da Aussischmeissa) 1.00

Well, here's a first: a Hrefnesholt release that is actually available via the Amazon website. From humble self-released demo tapes and a sporadic recording history over numerous years, Hrefnesholt has hit mainstream commerical accessibility! Better news still when you realise that 'Uraungst' is far from typical Amazon fodder, and stays true to the re-invention of Alpine folk music that has re-energised this band over the last two years.

This particular release has seen unprecedented numbers of emails flooding the inbox at Castle Nazgul requesting Nazgul to get on with reviewing the CD as it's so awesome. Yes, both of the emails received were forthright in their view that this was an album worthy of hero status, and that a swift review should be the order of the day. So here without further ado, and mere months after those plaintive cries were received, is "Uraungst" in all of its glory.

Originally there was the "Uraungst (advance tape)" preview of this album on the Percht label, limited to a scant 27 copies. Despite Nazgul enthusing about it in his usual fervered fashion, it is only on release of this CD that the world at large now has a opportunity to hear the music created by Hrefnesholt and share the sense of awe and wonder at what unfurls in front of you. It is, simply put, a wonderful album. The style of music, nicely described on the ear-rational.com webpages, is nothing like anything else you've probably heard and defies categorisation:

"Going back to far away times, Hrefnesholt digs out long forgotten, ancient tales amongst the myths of the Upper Austrian forests. These legends of sinister and primal fears were too terrible to be retold and people wanted to forget them over the centuries. Now these ancient tales are finally being retold in "Uraungst", the newly released debut album of Hrefnesholt. Uraungst is a mixture of dark, organic Ambient, Folk, a slight Black Metal touch and spoken/sung lyrics and tales in Austrian dialect. Hrefnesholt is purest Doom Folk and incomparable with any other music style."

What the listener receives on purchase of their copy of this album are a number of songs present on the advance tape - 'Furchtelmandln', 'Dunklmoos', ' I bin da Woid' and 'Hexnfeia' - plus the 'Wurzlmann' song from the demo tape of the same name as well as four original compositions, albeit two brief intro and outro pieces. Owners of the original tape will be pleased to see that they retain exclusive access to two songs - 's' Perchtenzeit' and 'Kum Mit Mit Uns' - but that the additional material (and digital sound quality) makes this version a worthwhile purchase too.

And it's not just Nazgul and a few crazed Honour and Darkness readers who rate this album highly: there are - for once - a reasonable amount of online reviews for this release so a quick search of the Internet will provide you with some independent corroboration of the delights to be had within this release. Here are a couple of them, starting out with an abridged review from the German site alternativmusik.de:

"Sturmpercht has proven more than once that the Austrian Alpine landscape has many legends. Whilst Hrefnesholt moves in a similar theme, musically it goes in entirely different directions. To describe this style is very hard, for "Uraungst" is a mixture of so much: one finds elements of Metal, Dark Ambient and Folk and even passage that remind one of Stoner rock. The music designates itself as a "Doom Folk", and this concept could be the most appropriate yet.

At least, if one uses the "Doom" in the sense of Doom Metal based on the drawn-out, gloomy sound, for that is true in any case. One could call it Dark Ambient also perhaps, because the music is produced first and foremost as entirely atmospheric and is very well suited to generating mental imagery. This album takes you into deep enchanted forests, in which one sees the trees in the wind. In addition, in with the twittering of birds and the rustling of the wind one hears acoustic guitar and a Didgeridoo (!) being repeatedly used. In addition there is spoken language that is in Austrian dialect and is unfortunately not always really intelligible, but speaks as actual forest spirits.

As a reviewer, it is rare to get music that one so never heard before. Such is the case with Hrefnesholt andit offers a fantastic experience to the listener. In contrast to that the packaging is noticeably poor: A digipak-style packaging in a plastic cover in which the CD is not correctly held. But at least this does not affect the music..."

and following that with another from French language site obskuremag.net, who gave the album a score of 72% in their review:

"After a good number of cassettes, Uraungst appears as the true first album of Hrefnesholt. Pulling his inspiration of the Austrian forests and landscape, the music of the group is situated on the edge between doom, pagan folk and experimentation. Slow, monolithic, frozen, mysterious, the compositions need long expanses to unveil their poisonous beauty such as on 'I bin da woid' and 'Wurzlmann'. Guttural voices narrate in strange languages while meditative folk beauty is constantly disrupted by relentless metal - 'Hexnfeia' - acting almost as alternating verse/refrain. Put to rest the short introductions and conclusions, the seven other pieces take the time to offer all their charm. 'Fuchtelmandln' does not last less than twenty-four minutes and the disc stretches itself near to an hour and a quarter. Suddenly, the album can seem a little repetitive in the end, but notably the psychedelic doom-pop of the title 'Dunklmoos' reminds us that this is nevertheless an original exercise"

Quite honestly, if you're not already compulsively gripping your wallet in one hand and searching online with the other to buy a copy of this then you're either braindead, reading the wrong web-site or you own a copy already. It's basically that simple - it's not so much the eagle that has landed as it is Hrefnesholt that has arrived, and with this album has unleashed a monster of a concept that in a perfect world should threaten Uruk Hai's place as Hugin's most popular band. Yes, it really IS that good.

ÜBER DAS PRINZIP DER UNSCHULD - update

2011-06-07T19:59:00.003+01:00

Band: ELISABETHA
Title: Über das Prinzip der Unschuld
Reason for update: Early narrative and lyrics (in German) intended for what would become Elisabetha's last album
Format: Colour A4 pages stapled beneath full colour cover, showing the classic Elisabetha line-up. This copy has been autographed by Hugin
Edition: Only 4 hand-numbered copies

Proposed Track Listing (showing author/date):
01. Einleitung (Des Lebens Süßer Saft) * Höllenfürst (07.02.2004)
02. Im Herbst Der Niemals War * Höllenfürst (04.10.2003)
03. Masturbation: Eden * Höllenfürst (25.02.2004)
04. Sakralis Erotika * Neon Ästhet (07.04.2004)
05. Folterqualen Der Inneren Hölle: Die Frau In Schwarz * Blutgraf (27.03.2004)
06. Blut * Höllenfürst (18.03.2004)
07. Nachruf Zu Lebzeiten (Blut Und Lust Sind Unzerstörbar) * Neon Ästhet (24.03.2004)
08. Des Prometheus Funke * Höllenfürst (26.03.2004)
09. Exorzismus * Höllenfürst (27.03.1004)
10. Ein Mittel Zum Zwecke? * Höllenfürst (27.03.2004)

Here's an interesting historical artefact from the now-defunct Elisabetha project, casting a new perspective onto their 2007 album "Über das Prinzip der Unschuld".

That particular release - covered in Honour and Darkness on 29 September 2009 - is to all intents and purposes a Hugin solo album recorded under the Elisabetha banner, taking the listener down entirely new avenues in terms of neoclassical keyboard compositions. None of the band's former 'radio play' heritage remained in the grooves of this particular album, nor did the trio of original members play on the album together. Since this 2007 release there has been little material released under the project name, save for old demos given a breath of life by Wulfrune Worxx ("Rehearsal 2001") and another older recording given a release, the Darkthrone inspired 'Transilvanischer Hunger' cover self-released in 2010. Further neoclassical musings have yet to see the light of day...

And so back to these few sheets of paper, originally printed in just 4 copies (this is #3) for Üwe (Blutgraf), Arnold (Neon Ästhet), and Höllenfürst (Hugin). For whom the original fourth copy was intended...remains a mystery! The papers contain various narrative connected to proposed songs for the album, presumably dating back to when this title was destined to be a full-and release. As detailed in the track listing above, the dates of these contributions range from 2003 to 2004 and the number of compositions listed were in excess of the final predominantly instrumental-only songs on the final release.

What would this album have sounded like using all of these lyrics and the original line-up? Well, unless any rough demos are kicking around W.A.R. Productions the answer is that we can speculate all we like but we'll never have the answer to that one. It's not impossible that such a scenario might exist, as Nazgul has in his possession a number of sampled pieces of dialogue and narrative spanning quite a few CDr discs that at one time or another have had connection to past Elisabetha work. However, given the use of limited narrative on "Über das Prinzip der Unschuld" by guest-narrator Seigor and the extensive use of samples on past Elisabetha recordings, it's pretty unlikely that the discs in Nazgul's possession would yield such treasure.

Interestingly, though, there is a track on the Bonemachine "Rehearsal 2002-2004" demo tape (reviewed on 26 November 2009) called 'Masturbation: Eden". Same title, right time frame, thus highly likely to be a genre spanning translation from one band to another under Hugin's mighty portfolio....

By the way, the photos used for this post - the signed title page, and contents sheet - are representative of the contents of this anthology, and to save on too many shots of plain white paper Nazgul has limited the illustrations to those two pictures alone. Should anyone like to have a full suite of photographs then drop me an email to the normal address and Nazgul will furnish you with a set.

In any event, an intriguing insight into part of this band's eventful history.

STAHLZEIT

2011-06-03T14:27:00.005+01:00

Band: URUK HAI
Title: Stahlzeit
Format: CDr pressed demo self-released from W.A.R. Productions circa 2001 (no catalogue reference). The inlay tray is a fetching shade of blue, holding a plain silver CDr disc.
Edition: 11 copies only

Track Listing:
01. Schall & Rauch
02. Raserei

Now here's a disc that you don't see everyday. Uruk Hai fans will remember that way back in 2001 Hugin found himself in the CCP Records studios in Austria recording some tracks for what was destined to become the Bonemachine (later B-Machina) project. One of those tracks - 'Schall & Rauch' found its way onto a split 7" vinyl release with Grimthorn, and was published bearing the Uruk Hai logo in error. The story of this particular release can be found in the post for 8 May 2009.

What is less well known is that Hugin pressed up a small batch of CDr demos under the Uruk Hai name, featuring both that song and an as-yet unreleased second track 'Raserei' under the title "Stahlzeit", which is what we have here.

Hugin has annotated this copy (#1 of the 11) with the legend "before it turned into Bonemachine", and indeed the 'Raserei' track whilst unreleased here eventually found its way onto the Bonemachine demo tape "Zeit" (see Honour and Darkness 15 August 2009 for details).

Credited on the inlay booklet is one "R.K." for session guitar work, presumably being Hugin's friend Roland Konigstorfer who has also appeared on a number of other releases from Hugin's projects, including Hrossharsgrani's "Schattenkrieger" album.

An interesting period of Uruk Hai history this - we saw how at the turn of the Millennium the Hrossharsgrani war-machine spawned a side project that became Uruk Hai; now the history books would seem to add weight to the evidence that Uruk Hai begat Bonemachine at some point in the early 2000's. So at what point does Heimatleid fit into all of this, one might reasonably ask, as it is cited on the B-Machina MySpace pages as the precursor to that band despite the Heimatleid sound being far more associated with the pummeling barrage of Hrossharsgrani? Clearly a melting pot of ideas were running around the brain of Mr Wieser around this time (and currently too, judging by the ever-flowing creative juices).

The two tracks here, incidentally, are both excellent industrial/martial songs and really are well worth tracking down if you can through the Bonemachine back catalogue.

To end, a photo from inside the inlay for this release wherein lies the edition number from Hugin's own hand.

MELANCHOLIE EINES HERBSTES IN DREI AKTEN - update

2011-06-03T10:18:00.005+01:00

Band: URUK HAI
Title: Melancholie Eines Herbstes In Drei Akten
Reason for update: alternative format for this 2004 split release
Format: Same compilation CDr but in first edition pressing of DVD sized case with printed inlays and labelled CDr disc.
Edition: unlimited

Track Listing:
Svarrogh
01. Samota
02. Slunce Moe, Kum Tebe E Moyata Molitva
Uruk Hai
03. Nebelland 03:33
04. Barbarians 04:15
05. Hügel der Tränen 03:16
06. Mit dem Schwerte 04:01
07. Sagenreich 03:00
08. Tyrannentod 10:34
Rubixx! Project
09. So Many Tears (instrumental
10. Angel & Demons
11. Archetypal (instrumental)
12. Perceiving Subject
13. D.I.V. (dem Irdischen Verfallen)
14. Flowing Tears (instrumental Outro)
Uruk Hai (with Arkillery)
15. Minas Morgul 04:50

Mention of Dimo Dimov in the last B-Machina post put Nazgul in mind of this CDr, which has been nestling in the Castle library for quite some time now but for one reason or other has never led to an update of the original post of 9 May 2009 covering this 3-way split between Uruk Hai, Svarrogh and Rubixx!Project.

Given that original review was over two years ago (how time flies) it seems like a timely moment to take stock of this particular release in this revised format. The first thing to note is how much better the DVD case format suits the album. Nazgul's original copy of the CDr in standard jewel-case has a decidedly d-i-y feel to it, exemplified by the hand-written stickers that adorn the sides of the jewel-case to identify the album title. Nothing wrong with that, but compared to the properly printed inlays and inside contents sticker of this bigger version, together with a properly finished disc, you can't help but be impressed by the latter edition.

This was, if Nazgul's recollection of what Hugin told him holds true, the work of Svarrogh's Dimo Dimov himself, and although an unlimited number of copies in this format were produced they are still impossible to find! Therein lies one of the underlying snags with this release, actually, in that the Uruk Hai compositions are some of the best of this period (circa 2004) that the band recorded. That the vast majority of the songs are unique to this release, which is so obscure as to be totally impossible to find no matter what format you're looking for, is a crying shame. If ever an enterprising label wanted to put out a quality Uruk Hai EP then they could do far, far worse than securing a deal with Hugin to use this material, as it really should have a wider audience amongst his faithful fan-base.

Some additional information has come to light about the third band on this split, the enigmatic Rubixx!Project. Since the 2009 review the band seem to have developed something of a web presence, and have their own MySpace page now. The overall theme for this German group seems to be one of a fusion of ambient sensibilities with Gothic overtures, through a keyboard driven sound. They have a couple of releases out in their own name now too, so if that sounds like your thing then worth checking out. Svarrogh are still plugging away too, with their last release being the "South European Folk Compendium" of 2009. Nazgul also came across a Spanish review of this demo at www.extremeambient.net dating from 2007 that he'd missed first time around, which might be worth a glance too.

Sadly, for the reasons outlined above, you're no more likely to find a copy of this demo than before without some pretty diligent searching and a hefty slice of luck. In more years of combing the internet for Hugin's material than I care to remember, Nazgul has still only come across the original jewel-cased version of this release on open sale. This alternate version was totally unknown to me until Hugin kindly made it available out of the blue.