Reviews: Sólstafir, Countless Skies, Vacuous, Arya (Paul H, Rich. Dr Claire & Paul S)

2017’s Berdreyminn scored a perfect ten from me. The Icelandic outfits shimmering post-metal individuality resonating deeply. But I admit that the band fell off the radar somewhat until a few months ago when the news of their next record, Endless Twilight Of Codependent Love broke. And whilst the latest release certainly picks up where the previous one finished, this is once again no easy listening 30 minute straight forward review. Formed 25 years ago by co-founder singer/guitarist Aðalbjörn "Addi" Tryggvason, Solstafir continue to pursue their own direction and approach. Having sung much of the last album in English, Tryggvason reverts to his native tongue for much of this album, which presents both challenges and benefits to those who don’t speak the native tongue. Regardless, Tryggvason’s enunciation and emotional commitment to the vocal process in effect adds more feel, flavour, and passion to the band’s songs which swirl, dip, and dive throughout this album like a flock of swallows on an early summer evening. 

Solstafir may have started out as an atmospheric black metal outfit, but their musical style today is far removed from those rustic beginnings. As Tryggvason comments, “Having been a metal band for a long time and gone through shoegaze, atmospheric black metal, and post rock, I just feel privileged being able to mix all my favourite genres and get away with it.” So, it’s not unusual to feel the influences within their music as variable as The Beatles, Kraftwerk, Darkthrone, Ennio Morricone, and Billy Corgan as you work your way through the 63 minutes on offer. Opening with the epic ten-minute piece Akkeri, it’s the emotionally charged Drýsil that really starts the ticker racing, the interplay between Tyggvason and the rest of the band is evident. As the sonic soundscapes immerse you deeper and deeper, the abstract constructions of each track, combined with the forays into explosive riff heavy segments that then slow and ease into ethereal beauty subtly envelope and fold around. It’s almost a comfort blanket at times, such is the gentleness that is emitted. Her Fall From Grace illustrates this perfectly, the use of English lyrics almost irrelevant. It’s an emotionally charged song which is the most personal on the album, describing the pain of watching a loved one succumb to mental illness. The lyrics do hold the focus, so much that it’s only towards the end that you notice the fuzzy guitars which kick in toward the final two minutes providing more depth and layers. 

But don’t forget, Solstafir started life as a dark metal outfit and tracks like Dionysus remind you that underneath the ambient, melancholic style lurks a beast which needs to feed on the occasional rampant riff and screaming vocal delivery. It certainly jolts any pleasurable drifting with a stoner beat that once more surprises and impresses with its indie style guitar work. Whilst allowing Solstafir to blow the mind with the intricate direction changes, focus on the intriguing cover which rightly brings the Smashing Pumpkins album Mellon Collie And The Infinite Sadness. It isn’t of course but is The Lady Of The Mountain painted in watercolour by Johann Baptist Zwecker in 1864. The Lady Of The Mountain is the female personification of Iceland. It was first published in a book of Icelandic folk tales but was never shown in public and until its recent discovery in the storage area of a Welsh museum gallery, Icelanders had to rely on a black and white woodblock replica. “Everybody knows the image of the Lady Of The Mountain,” declares Tryggvason. “All of a sudden, the original pops up and it’s like, ‘Oh my god, these are the most beautiful colors I've ever seen. And why does it remind me of Mellon Collie And The Infinite Sadness?’ So that's purely accidental. When we saw this photo, we had to use it. It's too beautiful.” 

Endless Twilight Of Codependent Love continues the band’s recent exploration of their spiritual connection with nature, and their more recent consideration of mental disorders ranging from depression to alcoholism. In particular, the taboo behind men discussing those things for fear of being perceived weak. Although the band has had their own struggles, they have collectively been sober since 2013. This has helped with their open discussions about their challenges and it shows on the variation and exploration of styles. Til Moldar and Alda Syndanna vary massively in both style and tempo, the latter the closest the band get to a rock n’ roll number but both merely demonstrate the confidence that the band has continued to cultivate and explore in recent albums. Then there is penultimate track Or, with its bluesy jazz delivery, which once more changes direction in an unexpected twist. With Tryggvason once more joined by bassist Svavar "Svabbi" Austmann, guitarist Sæþór Maríus "Pjúddi" Sæþórsson, and newer drummer Hallgrímur Jón "Grimsi" Hallgrímsson, Solstafir has managed to provide further evidence, if it was needed, that they remain one of the most unique and interesting bands around today. But don’t take my word for it. Take a deep dive into the cool Icelandic waters and judge for yourself. 9/10Countless Skies: Glow (Willowtip Records) [Rich Oliver]
Vacuous: Katabasis EP (F.H.E.D Records) [Dr Claire Hanley]

Fresh from the depths of lockdown, Vacuous offer us their debut EP, Katabasis. It’s about as desolate as you’d expect a record spawned during a pandemic to be, which fits their demographic perfectly alongside the likes of Spectral Voice, Necrot, Incantation, and Black Curse. Full-throttle ferocity greets the listener in the title track; a mix of razor-sharp riffs and relentless, rampaging beats. Classic old school death metal at its finest. Katabasis transports you back to the early 90’s, where these guys surely would have given the highly praised but long defunct Timeghoul a run for their money. Unmarked Grave continues to ooze aggression. 

There is definite precision in the chaos Vacuous create as the frenzy of guitarwork merges perfectly with the harrowing vocal performance to create a truly torturous aural experience. Fermentation and Voluntary Immurement really elevate the record and showcase a more dynamic side to the band’s repertoire, serving up similar savagery but with a punchy driving rhythm and inexorable groove. Blood Eagle closes proceedings by expertly meshing the two sides of the record - blending fevered riffage, demonic drumming, and sinister screams, which culminates in a track that instantly captures interest but also builds anticipation throughout. A stellar effort by the new kids on the most bleak of blocks. Awaiting a full-length release with as much excitement as such somber material permits. 8/10