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Primordial > Storm Before Calm > Reviews
Primordial - Storm Before Calm

A purer music - 85%

we hope you die, May 7th, 2021

A common question in metal circles regards new sungenres that took root in the 2000s. Subgenres with the solidity of thrash, death, or black metal that is. Folk metal, depending on your perspective, could stregnthen or weaken the case for contemporary innovation in metal on a par with the 80s. It’s not entirely clear what the genre amounts to in terms of concrete ontology. Sure metal’s relationship to regional musical traditions had already been well established via the blossoming of black metal by the time the new century rolled around. Folk influences could also be noted in various forms of prog metal’s lineage all the way back to prog rock proper and its connections with the English folk revival of the 70s. But folk metal as a distinctive style only really came to fruition in the 2000s. But it’s not clear if this could be called a subgenre of metal in its own right. It’s just not nearly as easy to define as many metalheads are comfortable with.

The reason for this is simply that “folk” as a musical descriptor is about as broad as they come. And until recently its integration into metal has specifically referred to various Northern European traditions of folk music. As a result, folk metal has never birthed a distinctive set of playing techniques and standard music theory from within metal itself in the same way that thrash or death metal did. It distinguishes itself through the appropriation of traditional folk melodies, rhythms, or the application of traditional instrumentation (real or synthetic imitation) to a pre-existing metal style, usually black or doom metal, but also death metal, power metal, and traditional heavy metal. This baffling intersection of music history nevertheless makes sense in the listener’s mind as a distinctive style of metal when they are confronted with actual examples of the genre, but when seeking precise language to set it apart from other forms of metal it becomes surprisingly difficult to pin down beyond certain surface level features of the music. Primordial arguably achieve a purer example of what folk metal might sound like when compared to commonly regarded examples of the genre.

Primordial are perhaps the most internationally renowned metal band to come out of Ireland (unless you count Thin Lizzy). From roots in mournful black metal to an intriguing concoction of black, power, and heavy metal with distinctive Celtic influences, their evolution was a slow one. Thier fourth album, 2002’s ‘Storm Before the Calm’, is where we see the modern Primordial that most people recognise take shape. The previous release – 2000’s ‘Spirit the Earth Aflame’ – saw them adopt a mid-paced, epic folk style weaving in no small degree of prog metal leanings in the process, which sat nicely alongside the traditional black elements in their sound. But with ‘Storm Before the Calm’ we see them sharpen this formula up, adopting a rhythmic consistency deeply rooted in Celtic drum patterns, the layering of simple but atmospheric chord sequences compelling in their repetition, and Nemtheanga’s trademark vocal style, trading blows between black metal growling and epic heavy metal crooning.

In short, the Primordial formula is actually extremely simple. Rich, domineering guitars work their way through fairly standard black metal riffs styles, supplemented by subtle hints of Celtic folk melodies that inform their shape and phrasing. Drums follow the same mixed philosophy, switching from standard metal and punk techniques to danceable Celtic rhythms. This is topped off by a talented vocalist whose command of both clean and distorted vocals is one of the best in metal. And this latter point is really the secret of their success: it’s all about delivery.

‘Storm Before the Calm’ is relatively simple music, each track is built from two or three central components that don’t grow tired despite their bulky length and repetition, the riffs are nothing remarkable, with some being frankly flat. But it is the arrangements, the conviction, and flare of the playing that gives Primordial its magic, and has proved to be so hard for others to imitate or capture despite its relative simplicity and overt emotional manipulation. Individual guitar lines are sometimes difficult to pick out despite their simplicity, thanks to the meticulous and patient layering of the many guitar tracks recorded for each song. Listening to them painstakingly unfold a melodic core through this dance of simple arrangements is akin to watching the waves of a choppy sea rise and collapse, unfolding and consuming each other in turn; a hypnotic and repetitive dance based on variations of a theme.

What’s more remarkable is the fact that ‘Storm Before the Calm’ was the beginning of a strong six-album run that saw this basic framework change little, beyond minor tweaks at the boundaries of their signature sound. The riffs are simple yet intuitive, thus legitimatising their repetitious nature which in turn comes to define the structure of each track. They work subtle counterpoint and lead harmonies which – given the simplicity of the underlying structures – are granted greater impact and significance in this sparse musical landscape. And of course, it’s not just the power and conviction with which Nemtheanga bellows forth his lyrics, it’s the subject matter itself, which in part deals with the gross injustices served to Ireland over the years, largely at the hands of dear old England. A litany of oppression and betrayal is the sombre, beating heart of Primordial, one that nevertheless stands defiant and proud in the face of the hand that history has served this nation over the ages.

Primordial took a counter intuitive route to folk metal by stripping the instrumentation right back, removing any but the most basic nods to folk playing styles. But in doing so managed to tap into a more unique and resonant style than many overt examples of folk influence within metal. One that arguably is truer to the spirit of folk metal as accessible, simple, artisanal music for working people,

Originally published at Hate Meditations

A festive conclusion for the early era - 84%

HviteGuden, October 10th, 2019

"Storm Before Calm" can be called the last album of the early era of Primordial. On the first four full-length albums the band was looking for its sound, while all of those works, despite having something specific about each of them, had unifying qualities. And from the fifth album the band will make a bit different music. So, there're specific things about "Storm Before Calm" as well. Some call it the most black metal version of Primordial. Well, it's quite true, with a little correction: this is the most black metal album of the band alongside with "Imrama". The thing is, "Imrama" was more about the first wave of black metal, while "Storm Before Calm" is closer to black metal in its classical definition.

The music on "Storm Before Calm" is probably a bit less solemn, than the band can make it, but in any case, it sounds powerful. There are melodical elements though. Some parts are gentler and/or more hypnotic. There's the acoustics, by the way. Actually, there're multiple changes of the themes on the album. Combative moods prevail similarly to the predecessor, "Spirit the Earth Aflame". And folkish influences are noticeable as well, no surprise about that, while "Suns First Rays", traditionally for the early era, is the only completely folkish composition on the album.

Some things can be highlighted. "Sons Of The Morrigan" is a one of the most popular tracks in the band's oeuvre for the reason, because it's march-like and possesses subtle melodicism. "Cast to the Pyre" is a one of the best for sure, it's both epic and transcendental. It's sounds almost in the manner of following albums. By the way, the same thing can be said about Nemtheanga's vocals. They changed significantly. His voice became more powerful. Here it's so close to its final form, which will be presented on "The Gathering Wilderness". Earlier his vocals were more passionate, but later they became more majestic and mature, so to speak.

What can be said about "Storm Before Calm" in conclusion? In some sense that's the storm before the calm indeed, as the release is pretty vigorous and even festive to some extent, while the following album "The Gathering Wilderness" will be darker, deeper and more tragic. On the other hand, future won't be calm for the band in the most positive sense possible, because Primordial will finally present their own sound. The early period had its own charm in any case and "Storm Before Calm" rightfully represents it.

Cast to the Pyre - 92%

GuntherTheUndying, April 21st, 2011

"Storm Before Calm" rests uncomfortably between Primordial's "Spirit the Earth Aflame" and "The Gathering Wilderness," two opuses often labeled the group's finest hour. Declaring which one is better is arbitrary to the point; that being the somberness which overshadows the black sheep of Primoridal's herd. The linear notes within Metal Blade's reissue of "Storm Before Calm" have some honest testimonies from Alan Averill about the album's unstable tenor, including the original label's cracking dependability and other tribulations which mildly plagued the writing, recording, and release of the work that would become "Storm Before Calm." But none of the negativity that hindered Primoridal at the time seems to have damaged the album's overall ability. In fact, this is still pristine and majestic, overflowing with Celtic vibes and the solstice-inducing aura that seems to occur whenever Primordial appears.

Musically Primoridal turned the black metal hex up to Everest, producing some of the heaviest and most extreme material they've ever written. "The Heretic's Age," for instance, immediately asphyxiates the mood with tremolo riffs baptized in Celtic serenades, blast beats, and Averill's versatile voice. It's strong and bombing, and certainly one of the record's top cuts. The crashing melodies are present, of course, and nothing stops Primordial from dipping into the mesmerizing folk alchemy they've been able to summon without mandolins or traditional Celtic instruments that most folk metal bands deeply depend on. The complete product and atmosphere is fueled by Primordial's dominating demeanor as usual, yet the overall process still appears deeply enthralling.

However, Primordial is a tribe of moods; they've walked down a darkened path throughout "The Gathering Wilderness" and moved on a semi-prideful terrain during "To the Nameless Dead," for instance. "Storm Before Calm" intermediately matches a vibe of anger and frustration channeled through the melancholic waves of "Cast to the Pyre" and the album's unapologetic fierceness quite wonderfully as well. "Fallen to Ruin" overflows with prodigious emotion wherever it roams; overall another stellar anthem. "Sons of the Morrigan" is classic Primordial from start to finish: delightful melodies, sensational riffs, glorious vocals, and other Primordial-ish gifts. Alan Averill sounds marvelous as usual, preaching those passionate hymns of despair and gloom beyond the power of words...simply incredible.

The production is much clearer and leaner than the raw, muddy feel which defined the older creation known as "Spirit the Earth Aflame," a strong premonition for the work that would later appear on their Metal Blade material. I may be in the minority here, but I think this album is amazing. "Cast to the Pyre" and "Sons of the Morrigan" are some of the best tracks Primordial has ever crafted, and that isn't mentioning the soothing magic within "Hosting of the Sidhe" or the fierce picture painted throughout "The Heretic's Age." "Storm Before Calm" might be considered a step down in terms of substance, yet it's certainly two leaps forward in more regards than one.

This review was written for: www.Thrashpit.com

The “blackest” Primordial album to date. - 100%

DeaThrash2702, December 6th, 2009

Primordial has always been an excellent band. They seem to be constantly progressing and gaining momentum with each album they release. I first listened to this album after hearing “The Gathering Wilderness” and “To the Nameless Dead”, and it didn’t take long for me to love it. This has to be Primordial’s most extreme black metal release till today.


The album begins very suddenly with “The Heretics Age”, and simply blasts into full speed without any intro or warning. This track gives you an idea of what the album will be like, but don’t be fooled. This album is very eclectic, and each track is amazing. The most extreme tracks on the album are “The Heretics Age” and “What Sleeps Within”. Here you have full speed, non-stop aggression with every instrument and vocals. The guitars simply go riffing away, while the drums are almost continuously pounding the double bass, making these songs the heaviest on the album. Alan just gives the most energetic performance on vocals (as usual), with no clean vocals used at all. These tracks are bound to get you headbanging, however, they do not set the tone for the entire album.


The second and third tracks are quite similar in the sense that they give off a similar feeling of sadness and anger (more than the rest of the songs on the album). They are slower than the rest of the songs, and are a bit doomy at times. The lyrics revolve around the theme of hopelessness, again building on that feeling the songs give off (especially with Alan’s clean vocals). Fallen to Ruin starts with an acoustic passage, then leading into heavy drumming and riffing. The bass guitar is heard very distinctly and played quite slowly, which is what gives the song that slow flow. Alan uses a mix of clean and growling vocals throughout. Cast to the Pyre starts with slow guitar melodies, and a spoken passage by Alan. The song then builds up when the instruments come in, and maintain a slow doomish speed for the entirety of the track. Alan sings the two verses at a relaxed pace, with occasional whispers. Again, the drums here aren’t too fast, but still heavy without too much use of double bass.


The most standout track on the album is “Suns First Rays”. Acoustic guitars are played throughout, with some skin drums being played by hand. The guitars are played very quickly, giving off quite a bright and happy atmosphere of a sun rising. This is an excellent (and catchy) track, used as a sort of break from the heavy drums and electric guitars playing. I like to think of it as an intro to the next track. “Sons of the Morrigan” would have to be my personal favourite on this album. Even though all the songs are up to par with this one, this track definitely stands out. The guitar riffs give off a very emotional feeling, along with the lyrics being sung. The drums and bass play along as usual (excellently) with their heavy sound, adding to the feel of the song. It continues, verse by verse, with grade A riffs and amazing drumming, until the instruments fade in the outro. This is the most beautiful track on the album.


The album ends off very slowly with the 7 minute “Hosting of the Sidhe”, whose lyrics are taken from a work by William Butler Yeats. It is a very interesting track, where the drums are not loud; the bass plays a single line; and the guitars are playing a single melody, throughout. This song is clearly centered around the lyrics, where Alan’s voice is prominent over the instruments when they are being recited (no singing on this track). The song continues on until the recitation is done, and ends with the instruments continuing to play until they fade out. The album has come to an end :’(


Storm Before Calm is a fine (and seemingly underappreciated) work in Primordial’s discography. Looking at their history, you can see that Primordial have come a long way since their first releases. This is truly a work that should be heeded by all, as a black metal masterpiece!


“Storm Before Calm” is a must have for any extreme metal fan. – 100%

Primordial Part Four: Storm Before Calm - 90%

Taliesin, October 21st, 2006

After the excellence of Spirit the Earth Aflame, Primordial returned with their fourth studio album Storm Before Calm. Many reviewers claimed it was a step back and not as interesting. This is certainly easy to understand for the band took a less direct and less emotional route this time, instead focusing on songs based around strength and honour and Irish pride, also returning a bit to the type of songwriting on their first two albums, meaning there's quite a bit more of abstract riffing and more difficult to get into atmospheres.

This approach is all over the first song which is perhaps their most traditionally black metal song for the most part, until about half way in where it starts to expand into more epic riffing. Nemethenga's vocals have a few more tones to them, but perhaps the least interesting is his black metal rasp, which has always struck me as being rather weak in comparision to the rest of his vocal approaches. Thankfully it isn't too present on here, but it's more present on this album then any others, which perhaps adds to the feeling that somehow this is less interesting. And yet Primordial do not let the astute listener down. This may be more difficult to get into and understand but it pays off the astute listener. This is still Primordial, and this still has the same power as anything they've done.

Indeed when the second song starts "Fallen to Ruin" one is taken right into the tragic journey's that Primordial is so well known for. The vocals on here are stronger, the black metal vocals less raspy and more screamed, and one can also hear some premonitions of the vocals on The Gathering Wilderness. Back again is the more doom metal type structure, but still there are continued returns to a more Journey's End black metal sound.

Basically one could call this album part progression and part regression, taking ideas from older albums and making them new again by presenting them in a newer light. However like I said for most listeners including myself, this album might take the most time to get into, even if you're a big Primordial fan. There is a fire that illuminates this work that seperates it from much of their music. There is little tragedy and more a sense of hatred and malevolence, once the spirit of the music becomes aparent one can grasp it on its own terms. But it is interesting to note how out of place this sounds, the Bathory epicism that is so highlighted, somehow it feels like it should have been recorded in between Journey's End and Spirit the Earth Aflame. The strong pagan emotions on here as well seem worlds away from the tragic and pained atmosphere of The Gathering Wilderness. But all of this simply highlights how a band made up of artists can change and move as the winds flow over them.

There is much strength to be found here, much hatred and in some small ways pain and tragedy. But this is a work that transcends this world in an effort to find another more powerful age. Perhaps in the end Primordial did not find the world they wished and only saw this one, but still this recording stands as a monument to humanities hopes.

Not for beginners to Primordial, and even old fans might take some getting used to this, but it is a great record, even if it is not quite up to level of songwriting and passion of much of the rest of their albums.

black metal should sound like this - 90%

ironasinmaiden, April 17th, 2003

Primordial are an anomaly in black metaldom... a band that sounds distinctive as hell without pulling a Dodheimsgard and going all artsy. Storm Before Calm is atmospheric sans keyboards, emotional without ridiculous operatic vocals and all around epic in nature. I was actually shocked when the album finished and the CD counter read 46... it SOUNDS epic, without dragging on for a milennia. If you dig yer black metal with a side of irish folk and a penchant for all things rousing, get your filthy hands on Primordial, and be merry

The Heretic's Age begins without warning, 100% full speed ahead... this is bombastic Ancient Rites style epic metal at it's finest, and the most blistering moment on Storm Before Calm... perhaps the title influenced the albums sequencing, or otherwise? After track 1, Primordial locks into a mid period Bathory groove, often accompanied by rhythmic, tribal (?!) drumming. Fuck, Cast to the Pyre reminds me of BAUHAUS of all bands. The slower, spacier moments like 'Pyre', and Sons of the Morrigan are a very original addition, propelled by uber-melodic layered guitar work. Grab some Killians and drift away

Primordial's vocals are sneered, almost spoken, in an Eric Adams way. I hear plenty of Manowar (!?) influence... particularly the ridiculous moment towards "Fallen to Ruin"'s conclusion where poorly sampled raindrops roll and a man starts to scream about "FATHER FATHER" nonsense. Either way, it's refreshing to actually UNDERSTAND a black metal vocalist, particularly when primordial's lyrics deal with Irish folklore and literature, a fascinating topic.

Serioulsy, Primordial is a fucking killer band, and if you're a fan of Hammerheart era bathory, or good metal in general, check em out. Word.