Fiannaíocht - Celtachor

So close and yet so far from

After hearing the whole album through a few times unfortunately, I am disappointed. For the first three tracks got me really to lose the jaw, as well as to think: "So, for the hell, NOW it's here – the year the washer!". But as soon as that song number four started, I could feel that koldsveden volunteered, for I had to admit that, no, this is not the album of the year. But it is still a solid, if somewhat messy, album. The songs that work, work quite well, but unfortunately Fiannaíocht an album, where the band has not been critical enough and therefore have managed to cut all the fat from – unfortunately.

Pride and myths

Celtachor are proud sons and daughters of The Emerald Island. They are on a two-tier mission to blow us backwards with a beautiful combination of folk music and raw black metal, but also to interpret the esoteric celtic mythology. A mythology that clearly has been pushed to the side of the mythologies, who managed to leave behind written sources, such as both the nordic and the Greek. But alas, the celts valued the oral tradition – a narrative techniques, such as Celtachor have picked up, and which forms the focus of their music and concept. The album's title, Fiannaíocht, is also the name of a collection of different myths, which can be compared with the Odyssey, The Poetic Edda or the Kalevala, so sit comfortable and let Celtachor report.

Celtic Circle

The combination of black metal and a celebration of the pagan myths and the prækristne society is a incredibly classic combination. The two go very often hand in hand like black metal and Satan/extreme political views. Some might even even argue that it is a cliché now. But anyway, will Celtachor en blow on what you think is a cliche, and if you are now and have been quite hurt in the soul that they are not "trve kvlt" enough. For it is not: the Music is definitely more people-black than black-people – and not only because the production is excellent, and that there is no trace of the "necro sound" (Varg Vikernes' name of the characteristic and conscious of the wretched sound of the early Norwegian black metal often had) to find. The numbers are often quite long for just to make room for long passages with various traditional instruments, and some tracks are purely acoustic ballads with beautiful song and nothing black about it such as "The Search for Sadbh" or "Great Ships Came from over the Waves". The numbers – beautiful and well-composed as they are – do not, however, something good for the album. You forget all about black metal and comes instead to think of the number of cds, the Celtic Circle 1, 2 and 3, which was released in the beginning of 2000. In the same way, we have to mention the singer Stephen Roche. His black-vocals are excellent and absolutely classic, but his clean vocals are "unique". It tries to be cheesy and operaagtig, and here the key word is "try". His clean vocals work just fine in certain numbers, but in other places, it acts not at all, and it almost seems that he sings false, which is also not doing anything good for the overall impression of the album. There should be no doubt that Celtachor consists of a number of talented and passionate musicians. But either they must agree on what they exactly want with the music, or they have to be better to organize the order of the numbers on their releases. For the order in which the ten numbers on the Fiannaíocht comes in, is only to make the album into a muddy and confusing place, where the tempo constantly fluctuates up and down. In the same way, one can discuss whether there is a need for small numbers like "Tears of Aoife", which is nothing more than a two minute flute playing, and even a little slack sort of.


>> Check the songs and lyrics here