Scald may very well be the greatest metal band of the ’90s that nobody talks about. Now that’s not entirely true. Here I am doing exactly that, as you read on either previously aware of this incredible act or eager to learn more. One thing, however, is for certain: When it comes to the larger conversation of ’90s underground metal, you don’t hear Scald being namedropped alongside the likes of At the Gates, Mayhem, Dissection, and so forth. This is no fault of their own, or yours, for that matter. To this day, their debut masterpiece, 1997’s Will of the Gods Is Great Power, has yet to receive a proper American release, which would largely explain their continued obscurity three decades on.
Come 2024, the band dropped their once unthinkable sophomore album, Ancient Doom Metal, which remains one of the greatest metallic triumphs of the decade thus far. Unfortunately, not long after its release, new frontman Felipe Plaza Kutzbach departed the fold, which makes sense considering he remains busy in Procession, Capilla Ardiente, and Deströyer 666, to name a few. In his place arrives Hrafn, best known to epic doom aficionados as Alexey Goryachev, frontman of Vendel, who may as well be the heir to Scald’s throne. For a lineup that blurs the line between old school and new, their first release does the exact same.
Relics is an intriguing EP that sees the current lineup of Scald excavating three songs written shortly after the recording and release of Will of the Gods, intended for a sophomore album with original vocalist Agyl. There’s also a cover of a song from Agyl’s pre-Scald outfit, Pocc, presented in both English and Russian for this here release. Despite being only 4 songs long (technically 5), Relics manages to be more thrilling than many of the full lengths that cross my paths these days, giving us a glimpse of what could’ve been for the band before their initial run was cut tragically short, yet simultaneously building upon their ever-growing legacy.
The opening “Master of Tundra” is pure Scald, fusing grandiose doom riffs, melancholic melodies, and viking flavored atmosphere into a sprawling 7 and a half minute suite. Hrafn makes a grand entrance, boasting a strong, bellowing vocal attack that’s even closer to the late Agyl than Kutzbach. “Raven” hits us with a melodramatic blast of melo-doom pomp, complete with the type of pomp and circumstance one would expect from a prog metal record. One can’t help but wonder if these young Russians were spinning Queensrÿche in between Candlemass and Bathory. Speaking of Queensrÿche, “Flame” could very well pass for a lost Warning era gem with its majestic USPM-tinged guitar work and stratospheric Geoff Tate-esque vocals. “Falcon” / “Sokol” rounds things out with a final monolith of epic folk-doom, complete with traditional native instrumentation and more subtle USPM-isms.
I’m curious if these 3 songs are the only ones Scald had lying around prior to Agyl’s death. If so, it’s about time they finally received a proper recording and release, as it would be nothing short of criminal if they were lost to the sands of time. As stated earlier in this review, Scald’s “lost songs” are more fulfilling than the vast sea of epic doom imitators who have arrived in their wake, proving yet again the otherworldly songwriting and musical ability they possess. I’d love to hear this lineup create a new batch of songs in this vein, and something gives me the impression they will sooner than later. The wings of the raven are ablaze with the fire of Slavic steel.
8 out of 10
Label: Cruz del Sur Music
Genre: Epic Doom Metal
For fans of: Bathory, Candlemass, Atlantean Kodex
Leave a Reply