Review by Felix on February 11, 2020.

First things first: the melody of “Follow the Call…” sounds exactly like the typical “medieval lines” of Desaster. The guitar creates this melancholic and I-see-only-the-shapes-of-the-castle-in-the-fog feeling that Sonderkommando Kuschke brought into the scene. Moreover, as the track gets wild, it also lies in very close proximity to the brutal parts of the so-called medieval songs of Desaster. This is slightly dubious on the one hand; on the other hand it means that we are listening to a wonderful example of black thrash metal. By the way, the opening riff of the closer also reminds me of another track (“Under the Hammer of Gore”, Chainsaw, Greece), but that’s surely a coincidence. Better still, this tune with its hymnal yet inciting chorus also constitutes a fantastic point of orientation. These two tracks at the end of the running order make a good album even more enjoyable. Friends of the first Quintessenz full-length will love it, but they will not be the only ones.

Frankly speaking, I was not sure whether or not it would be necessary to lend an ear to A Thousand Pyres, because the debut of the duo was okay, but it was this kind of okay that means the-album-is-not-very-exciting-but-I-am-too-lazy-to-pick-out-another-CD-from-my-shelf. Summoning Hell did not suffer from severe mistakes and the same can be said about the new work. But, and here comes the difference, A Thousand Pyres marks the first step of the band out of the unmanageable crowd of solid yet interchangeable formations. The title track or “Scorn and Wrath” have stirring, powerful guitar lines that lend the material an individual face, at least to a certain extent. The same goes for the pounding chorus of “Dark Forces”. Cobwebbed sounds drone out of the mausoleum that once (probably 1990 / 1991) was built in the erroneous assumption that both thrash and black metal were not comatose but dead. Nocturnal Witch keep the fire burning and fortunately, the production underlines the musical approach fittingly in view of its comparatively warm touch. Warm yet mighty and strict, of course. It also goes without saying that the mix does not render homage to purity or transparency. Nocturnal Witch emanate this musty smell that other German bands, for instance Eurynomos or Megatherion, also like to spread (and I already mentioned that Desaster seem to be an inspiring unit for the protagonists of the here reviewed output).

38 minutes are an appropriate length for an album that wants nothing else to be but another chapter in the book of black thrash. No doubt, it is a well written chapter, every paragraph is interesting to read and holds relevant information. The authors are on a good way and I have the feeling that they are men of conviction. Expressed differently, I will keep my eyes open for their third full-length. This band does not lack honesty and due to its obviously increasing song-writing abilities – the album is free from flops - their next work can become a real jewel of the bastard genre. Until then, it feels good to get the daily shit out of the head by listening to A Thousand Pyres.

Rating: 8.1 out of 10

Review by Felix on December 9, 2019.

Korgonthurus originate from Finland and they see definitely no reason to hide this fact. Consequently, they play black metal. But is it really country-specific black metal? Maybe not, because the songs have a strong affinity for melancholic, desperate or crestfallen sections. It is out of question that the band also knows the meaning of high-speed eruptions, but they are not the dominating element here. The pretty strong title track, always the first candidate that comes to my mind when looking for a representative song of an album, starts with the power of an iced whip which is swung by a berserk, but it houses less aggressive sections as well. Korgonthurus connect different aspects of the subgenre and, moreover, they feel free to add nuances of another genre. From time to time, the vocalist contributes some death metal growls which seem to come directly out of the mausoleum. Nevertheless, his ardent screaming prevails.

Despite the pretty opulent average playtime (seven songs in almost 49 minutes), the tracks do not suffer from (over-)complexity. The musicians are fans of their own leads, lines and riffs with the effect that a tinge of repetitiveness cannot be denied. Every now and then, the band is able to create a strong degree of atmospheric density, but it is also true that some parts do nothing but offering ordinary guitars that fail to captivate the audience. Blatantly obvious influences like those of Burzum during the closer do not automatically lead to new milestones. After having learnt how to master an instrument, how to play together with other dudes, how to read music and how to compose a song, one thing is still missing – the creative inspiration. Vuohen Siunaus does not need to bow its head due to a number of severe mistakes, but it cannot expect thunderous applause as well. Let me come back to the closer, a song with a length of more than 14 minutes, but a substance for, well, let’s say seven or eight minutes. Not a difficult task to realize the difference, right? Its overlong ending, I guess it makes no sense to beat around the bush, is just boring. Perhaps this ending wants to embody the band’s understanding of endless pain (and we should never forget that endless pain means nothing else than being locked up with Mille P. in a stinking cell), but it remains on a mediocre – or should I say uninspired? - level.

The production is okay. The guitars convey both icy coldness and profound heaviness. In spite of their power, the vocals do not fall by the wayside. The drums and even the bass are not marginalized as well. This is still an underground production, no doubt at all, but it shows that the term underground is no synonym for amateurish. Nevertheless, it goes without saying that the mix cannot make up the song-writing deficiencies. This means that Vuohen Siunaus has to take its seat in the second or third row of the Finnish black metal theatre. Too many sections are not thought through and so the bloodcurdling elements cannot turn the tide for the better. The album is no flop, but I fear that it is fighting a losing battle in view of the legions of (more) competent competitors.

Rating: 6.8 out of 10

Review by Felix on December 9, 2019.

Korgonthurus originate from Finland and they see definitely no reason to hide this fact. Consequently, they play black metal. But is it really country-specific black metal? Maybe not, because the songs have a strong affinity for melancholic, desperate or crestfallen sections. It is out of question that the band also knows the meaning of high-speed eruptions, but they are not the dominating element here. The pretty strong title track, always the first candidate that comes to my mind when looking for a representative song of an album, starts with the power of an iced whip which is swung by a berserk, but it houses less aggressive sections as well. Korgonthurus connect different aspects of the subgenre and, moreover, they feel free to add nuances of another genre. From time to time, the vocalist contributes some death metal growls which seem to come directly out of the mausoleum. Nevertheless, his ardent screaming prevails.

Despite the pretty opulent average playtime (seven songs in almost 49 minutes), the tracks do not suffer from (over-)complexity. The musicians are fans of their own leads, lines and riffs with the effect that a tinge of repetitiveness cannot be denied. Every now and then, the band is able to create a strong degree of atmospheric density, but it is also true that some parts do nothing but offering ordinary guitars that fail to captivate the audience. Blatantly obvious influences like those of Burzum during the closer do not automatically lead to new milestones. After having learnt how to master an instrument, how to play together with other dudes, how to read music and how to compose a song, one thing is still missing – the creative inspiration. Vuohen Siunaus does not need to bow its head due to a number of severe mistakes, but it cannot expect thunderous applause as well. Let me come back to the closer, a song with a length of more than 14 minutes, but a substance for, well, let’s say seven or eight minutes. Not a difficult task to realize the difference, right? Its overlong ending, I guess it makes no sense to beat around the bush, is just boring. Perhaps this ending wants to embody the band’s understanding of endless pain (and we should never forget that endless pain means nothing else than being locked up with Mille P. in a stinking cell), but it remains on a mediocre – or should I say uninspired? - level.

The production is okay. The guitars convey both icy coldness and profound heaviness. In spite of their power, the vocals do not fall by the wayside. The drums and even the bass are not marginalized as well. This is still an underground production, no doubt at all, but it shows that the term underground is no synonym for amateurish. Nevertheless, it goes without saying that the mix cannot make up the song-writing deficiencies. This means that Vuohen Siunaus has to take its seat in the second or third row of the Finnish black metal theatre. Too many sections are not thought through and so the bloodcurdling elements cannot turn the tide for the better. The album is no flop, but I fear that it is fighting a losing battle in view of the legions of (more) competent competitors.

Rating: 6.8 out of 10