I’m always a little apprehensive when the word “folk” gets thrown around with the word “metal.” When I think folk metal, I can’t help but think of a bunch of hobbits running around swinging ale horns and singing Korpiklaani songs or some shit. No fucking thank you. However, knowing that Thrawsunblat drummer Rae Amitay has pretty darn good taste and is both a talented musician and an all-around swell human being to boot, I couldn’t help but be intrigued when she contacted me regarding Wanderer on the Continent of Saplings, the band’s second album overall and the first to feature Amitay behind the kit. This my friends is not your typical Monty Python-esque beer hall folk metal shenanigans, but rather a heartfelt blend of real folk music the way our ancestors intended it and utterly scathing yet majestic black metal.
Wanderer on the Continent of Saplings (henceforth referred to as Wanderer… because the title is just too damn long to keep typing and the rent is too damn high… wait, what?!) is an album born of tragedy; both Amitay and Thrawsunblat mastermind Joel Violette are former members of Woods of Ypres, a band that came to an untimely end due to the passing of vocalist/guitarist/songwriter David Gold in 2011. Indeed, the specter of Gold’s death hangs over the recording, infusing it with a downtrodden sadness that’s all too palpable. At the same time, there is catharsis whenever the album explodes in a burst of earthy and melodic black metal, and you can’t help but get the feeling that there’s more than a glimmer of hope amidst the grey skies and deep dark forests.
In the first paragraph I joked about ale horns and beerhalls; Wanderer… isn’t without drunken lyrics, but this isn’t the stuff of hobbit metal, rather this is about pouring out a drink for fallen comrades and reminiscing, something that I’ve become all too familiar with over the past several years. Being able to identify with the sentiment behind the folk parts makes all the difference, especially when they’re written and performed with such passion. Thrawsunblat truly taps into not only the genuine sounds of folk music at it’s most pure, but also the intent.
Things get really interesting when Thrawsunblat mixes the two styles rather than keeping them segregated from one another, coming off in places like a revved up black metal version of The Pogues. This is mostly achieved by blending clean vocal harmonies with distorted guitars that warp traditional-sounding melodies into icy tremolo riffs, and being that I’ve always believed that black metal and folk music are closely related both musically and thematically it works exceptionally well. Indeed, Wander… benefits from a great deal of craftsmanship and attention to detail, as well as a deep understanding of both the genres being explored and how they relate to and mesh with one another.
Thrawsunblat have created an emotional, beautiful folkened black metal album (see what I did there?!) that deserves your time, even if you’re a cranky old bastard like me that thinks all folk-infused metal is music for hairy-footed midgets to barf up a gallon of grog to. Wanderer on the Continent of Saplings has proven me dead wrong on that assumption, so forget all you know (or think you know) and give this folk metal Can-Am Connection (see Rae, I told you I’d get a Canadian pro wrestling reference in there somewhere!) a listen if you know what’s good for ya!
THKD 