To the Nameless Dead

Primordial’s the Nameless Dead is a heavy metal classic. While not as emotionally striking as “The Gathering Wilderness” (Primordial’s first masterpiece), the sounds produced within Primordial’s sixth studio effort feel even more refined than they did in their previous record. The Nameless Dead is Primordial at their sonically defining peak. Their songwriting at their most glorious and potent, instruments most clear, crisp and inspiring and atmosphere with the grandiosity only a handful of album’s could dare match in tone. This is a band - which were already incredibly skilled - learning from their past mistakes and mediocrities in previous records; effortlessly marking themselves as legends within the realm of heavy music once they graced the ear’s of thousands of listeners with these eight pieces that holds together the stronghold of The Nameless Dead. Each song soars with empowered highs and sorrowful lows; twisting the record with their own unique spin amongst sound and dimension, and while they present similar themes within their lyrics (history, struggle, war), each of the eight songs (aside from the transition track) embody such themes totally unique to each other without falling apart in tone and consistency.

Take Gallow Hymn for example: the shortest “real” song in the album contrasts itself as a piece of crushing emotional density as a slow, precise melody can be heard through nearly the entire five minute track. Normally I would consider this as an act of poor songwriting however through sheer technical skill and talent, Primodial is able to hardwire this melody with shifting rhythms, organic drum work and brilliant vocal performance both lyrically and technically until the melody distorts into something almost completely unrecognisable until it reaches its spiritual breaking point and transitions into another song almost twice the length of Gallow’s. As Rome Burns is another masterpiece but in a completely different compositional direction. During the first half of the song, it presents itself as any other Primordial song: incredibly catchy, lush and unique. With riffs constantly changing and harmonising in sync with the other instruments; an approach in song writing completely opposed to how Gallows Hymn did just a few minutes earlier into the record. The track then splits into an ambient piece - act two if you may call it - as faint voices can be heard whispering in the background. As the instruments becomes more empowered so too does the voices as they begin screaming out: “sing to the slaves” for nearly three minutes straight before bursting into a cacophony of time bending historical proportions.

It’s almost as if Primordial took the very soul of the Roman empire and fused it within their heritage sunken instruments to create a song filled with timeless conviction and prowess dedicated to the very bowels of war torn history, as it later diverges back into a similar structure with how act one was. Each song feels like their own personal journey, varying in levels of struggle; all having a place in the triumphant web of The Nameless Dead’s spiritual essence. I like to see the tracks as musical monuments created to tell a bigger story, whatever story that is is up to the listener to decide. Each track is incredibly memorable, varied and have something unique going for it (as mentioned with Gallows Hymn and As Rome Burns). When I try to analyse how Primordial could have shaped a song just a little differently, I come to a sparse conclusion. That’s just how good The Nameless Dead truly is. The drumming is absolutely awesome. Unlike with most other black metal albums that rely on tedious blast beats most of the time, the drum patterns are rich in variety and compliment the leading instruments perfectly; never becoming repetitious nor dull. If the drumming was any different then this album would likely have not gotten a 100%.

Each instrument uses the strengths and “weaknesses” of one another in fluid harmony; all feeling completely distinct from one another yet natural at the same time, and any tampering with the song writing would result in a loss of texture within every tune present in the instruments. As this is a black metal album the bass isn’t the one of the main focus points of the records, which is fine as what the bass does is fill out any empty space the guitars and drums may have left out, in which it does perfectly. The only instruments left are the guitars, which embody a folk-like presence across the whole album. Unlike most folk metal records, the guitars and their following compositions lack any cheesy/campiness. This album treats its listeners with respect as well as their subject matter, only adding to the genuineness of the record. Like I said before, every song (aside from its one ambient piece) present here is incredibly memorable and the main reason to that being the case are the riffs. The riffs soar with grandeur, confidence and ferocity; all feeling unique from one another and inseparable within their given contexts of the tracks. There are two guitars being used here which only adds to the variety and sonic boundaries of the album; each altering in tone, tempo and mood depending on where you’re up to in the record, never feeling old nor lacklustre.

The album wouldn’t be the same without its timeless vocals. Alan Averill is the painting amongst The Nameless Dead’s canvas. This man’s vocal delivery is nothing short of brilliant. His voice sounds thick, heartfelt and brewing with vitality like no other, just how the instruments being played sound. He can do a bestial growl, a raspy witch like gurgle not uncommon in black metal or his signature yelp where he proudly displays his Irish accent. It’s iconic, distinct, mesmerising, powerful, effective and no other man can do a voice quite like him. Simply magnificent. To The Nameless dead is Primordial’s magnum opus. It acts as a testament to what skilled musicians can achieve if they put their heart and soul into their work within the realm of heavy metal. To the guitar tone to the emotionally invoking lyrics; every trait that To The Nameless Dead has comes together in perfect harmonic order in creating a sonic landscape that will not be forgotten for centuries to come. Like the statue of David or the Birth of Venus, Primordial’s To The Nameless Dead is a classic in every sense of the word. Both artistically, historically and emotionally.

When metal bands choose to season their music with Celtic folk elements, it often turns out obnoxiously upbeat and peppered with violins and whistles. Primordial has been taking elements from the traditional music of their native Ireland for well over three decades now, but the results are far more melancholic. It may help that they are actually Irish and therefore have a deeper understanding of the actual characteristics of their own folk music. They have been one of the most unique, intense metal bands of the globe for a long time now and ‘To The Nameless Dead’ might be their album with the broadest appeal.

By the time ‘To The Nameless Dead’ was released, the black metal influences that were fairly prominent on Primordial’s earliest releases have largely been limited to the atmospheric, mildly dissonant chord work. Any Primordial record after ‘Storm Before Calm’ would almost be more recommended to doom metal fans than those into black metal, but ‘To The Nameless Dead’ has many characteristics that are likely to pull in listeners who generally prefer traditional heavy metal or even progressive metal as well. The album still manages to sound like no one else than Primordial, however, further emphasizing how unique and recognizable their sound is.

Opening with ‘Empire Falls’, the album draws the listeners in with what might just be the best Primordial song ever released. With its uncomplicated, but powerful riffs, an incredibly strong build-up in tension and one of Alan Averill’s most passionate vocal performances to date, it blurs the lines between all the subgenres that influenced Primordial. Simply a strong, epic heavy metal track that is likely to please fans of Bathory just as much as people who prefer a band like Manilla Road or even Nevermore. With its 6/8 rhythm and Simon O’Laoghaire’s clearly Brian Downey-inspired drum parts, there is no doubt as to which band you are listening to though.

Many of the songs on ‘To The Nameless Dead’ are still Primordial live staples to this day and it is easy to understand why. Songs like the anthemic ‘Heathen Tribes’, the brooding ‘As Rome Burns’ – the only slowly increasing intensity of the battle cry in the middle section is simply genius – and the mourning ‘Gallows Hymn’ are simply the best representation of what Primordial sounds like. One of the lesser known songs on the album though, ‘Failures Burden’, is one of the best tracks in my opinion. It sounds relatively close to the band’s Bathory-inspired beginnings, but the chords create an irresistible atmosphere and O’Laoghaire’s time feel changes really squeeze all the dynamic possibilities out of the song.

When looking for issues, I would have to say that ‘Gallows Hymn’ arrives too early. It is one of the better Primordial songs, but due to its elegiac quality, placing it later on the album may have improved the pacing of ‘To The Nameless Dead’. The slightly more black metal-influenced ‘Traitors Gate’ is not quite as good as the rest of the album, but to be fair, that is comparing the track to an absolutely stellar set of songs. ‘To The Nameless Dead’ might be the best introductory record to the Primordial sound, as it is their most dynamic and accessible album. As accessible as an album with songs this long can be, of course.

Recommended tracks: ‘Empire Falls’, ‘As Rome Burns’, ‘Failures Burden’

Originally written for my Kevy Metal weblog

"To the Nameless Dead" became the most popular album of Primordial. And there is the reason behind it. This work develops the style of "The Gathering Wilderness", which introduced the new revolutionary sound of Primordial. Basically "To the Nameless Dead" has the same sound, but the release mostly carries different moods. The atmosphere of the album is far more belligerent. Compositions here are like metalized war anthems, odes to courage, ancient battles, the heathen character and will.

It's well known, that the music of Primordial has always been associated with the tag "epic" and the least is especially necessary here. The thing is, the most epic stuff of the band has more often been on its slower compositions, while "To the Nameless Dead" is relatively fast by the standards of Primordial. Yet the epicness is well-established, in the already described militant manner. The music is just powerful. The majority of the tracks represent it.

Actually, "Traitors Gate" even stands out with its warlike attitude. This is the fastest and the most black metal composition of "To The Nameless Dead". Short instrumental track "The Rising Tide" is wisely placed right before. It's a-calm-before-a-storm-like ambience, the power of "Traitors Gate" pounds in the spectacular fashion after such kind of an intro. Full-loaded black metal distortion, blast beats, harsher vocals - all these things are present on the track.

"Gallows Hymn" and "Heathen Tribes" are the other standout compositions. "Gallows Hymn" is a tragic and sorrowful song of a condemned to be hanged. It's based on the bitter black metal tremolo riffing, while the vocals underline the settled mood, just as they have always been supposed to do. "Heathen Tribes", on the opposite, is the most cheerful track of "To the Nameless Dead". It's the most folkish in addition to that, as the acoustics play a one of the major roles there. Its melodies are frisky, as if it's a soundtrack for heathens feasting after won battles.

Anyway "To the Nameless Dead" is a holistic album, which is filled with the atmosphere of ancient battles. The work is catchy because of its power. That's why it's possible to understand, why a lot of metal fans call "To the Nameless Dead" the best album of Primordial. And, as it has already been said before, the record indeed should be placed among the best releases of the band. "To the Nameless Dead" is a compilation of glorious hymns to the mighty heathen spirit, to the ancient wisdom, which is lacking nowadays.

Tony’s classics part III: One of my favorite bands for like a decade, I always wanted to get my thoughts together and write a Primordial review. This is, in my opinion, their magnum opus so here it is.

To the Nameless Dead is a pure emotional voyage through music with a strong historical grasp of the world. With these eight songs, Alan Averill explores the dark past of Ireland with a sharp pen and an intellectual mind. The lyrics while linked to certain moments in time can also be interpreted in a timeless or contemporary way. “Empire Falls” can be seen as the fall of the Roman Empire or the upcoming and likely destruction of the modern western world and he, himself, mentions the fall of the west in the notes of the truly epic “As Rome Burns”

“The West is ripe for the picking, ready for the fall”

It’s not an objective vision though and nor should it be. It’s a sad and pessimistic portrayal worthy of Ireland’s rough history. There’s harsh connotations about genocide, assimilation, the faith of nations and the reasons and repercussions of wars. There’s also a true analytic work behind the lyrics of Primordial and it’s true for all their albums. They underlines the deep meaningful aspects of Earth’s tragic and often unfair history. Their four previous albums (The Gathering Wilderness in particular) almost reached the perfect mix of depressive storytelling and music and even if the band has never released a bad album (and possibly never will), their formula has never been as accomplished as it is on this 2007 opus.

“History is often dictated by faith. Putting the worlds to rights while it passes you by. Is there an honour in following your words to the bitter end despite being plagued with doubts?”

If I truly believe in something it must be the fact that the quintet will never give up their quest to unravel the shadows of the human psyche with their sound. Still, enough about their thematics, let’s talk about how freaking good the music is instead. Primordial are one of those bands formed in the 90s who really managed to craft an idiosyncratic sound out of already existing sounds. Bands like Opeth, Moonspell, Rotting Christ or even Darkthrone all created new versions of genres but in Primordial’s case, it took more time for their identity to be developed to its most refined version, the To the Nameless Dead version. While 1995’s Imrama is a good album, it feels unfinished and lacking in scope. Taking the epic sound of Viking era Bathory and drowning it in Celtic folk, we should be in known territories but the compositions are so distinctive and surprising.

I do think that a lot of great bands possess the ability to build a wall of sound where all the instrumentation comes together to make the recipe totally complete. While you can of course praise the guitar playing of MacUiliam or the thunderous drumming of O’Laoghaire, the five guys all come together in the end. The songs are long and meandering in the best way possible. They’re also packed with riffs and never feel like they’re overlong. There’s basically no bands who are that tight at writing eight minutes songs. Primordial are classified as a black metal band only because no other genre can fit their lush yet dark sound. Dark metal isn’t a real genre either, go away Bethlehem. They’re hard to pinpoint not only because of Alan’s vocals but also because of the unique and intricate songwriting. Their riffs can often be seen as simple but they’re emotionally charged and the duel guitar approach gave the band an atmospheric force. It’s never whiny, self-absorbed or pretentious, it’s down to earth and has the right amount of melodies and memorable vocal lines to feed the entire city of Dublin for decades.

“Oh they’re folk metal? Like Korpiklaani?”
“NO.”

Folk metal is mostly a vile genre full of drink-along songs and lyrics about Hobbits and generic vikings with horns on their helmets (not historically accurate, motherfuckers). On the other hand, Primordial are so much deeper and interesting in their conservative but still quite original way. It’s not overproduced (“not very produced” to quote the booklet) and it makes the sound really natural. There’s no useless flush, no keyboards or flutes. It’s lo-fi folk metal full of gloomy attitude. As an example, the subtle use of acoustic guitar in “Heathen Tribes” is far from cheesy and overdone. Their seriousness and their sophisticated yet honest epic side is what makes them so great. They never try to impress with neoclassical guitar solos or bludgeon the listener with gear worshiping riffs. Primordial is the mysterious rogue at the obscured table at the back of the tavern who knows that he could take you down with ease if he wanted to. This album managed to kick my arse when I’ve heard it in 2008 and I still spin my copy often (three times during the writing of this review!)

Alan Averill has always been one of my favorite vocalists for the unadulterated passion he delivers. He’s one of those instantly recognizable voices in metal and he’s always so emotional and expressive. He’s really good at those gritty harsh vocals like the ones on “No Nation on This Earth” but the soaring cleans were always my personal highlight as they’re the aspect of the band that made me a fan in the first place. He’s like a possessed spirit singing the woes of his nation to whoever come across his tomb. Like the music, his voice transcends genres, he fits epic doom very well (see his other band Dread Sovereign) or even war metal (see the short lived Irish/Canadian project Blood Revolt) and he never gets boring.

Their latest two albums tried to expand their sound a bit but they’re not as compact and as To the Nameless Dead. This album hits all the sweet spots in terms of lyrics, riffs, ideas and overall enjoyment. Primordial are without a doubt a blue collar band, hard working and hard drinking individuals who continue to do what they love despite all odds. Regardless of who they appear to be, they’re highly intelligent and this is a masterpiece for the ages.

Metantoine's Magickal Realm

Once I read something interesting about the feeling of different continents. While America's a young child, ready to go on adventures and believing to be the centre of the world, Europe would rather be an old man, proud of his past conquers, but now taken by his age and melancholic with the present and the past failures, but still full of pride.

Based on this melancholy, Primordial builds this amazing untouchable piece of art, that cries the sad history of the continent in eight points of view. The four initial songs are all told in the heat of the moment, sounding despaired, while the four next songs have an aura of desolation, sounding nostalgic and sad. In the end of the day, both an individual track-by-track analysis and a general outlook conclude the same. This album is flawless, even stronger and darker than the previous album The Gathering Wilderness, but still relying on their trademarks, such as strong riffing, emotional vowels, and so on. Primordial is really unique.

When you listen to To the Nameless Dead, you'll have an epic experience. You'll go to a restless hour, narrated by Nemtheanga's monumental vocals, alternating through melancholic cries and shrieks of disgust, sounding as tearful as nothing else does. This epic narrative goes up and down along with the melody shifts that give the music context. A remarkable characteristic about this album are the symphonic structural features, with songs rising and falling epically, walking from ballads to heaviness.

This is created by their well-constructed melodies, using seconds to alternate between the rhythm of their raw doom melodies to epic folk metal. We can see influence of some music Bathory played, alternating between black metal and smoother rhythms to create good atmosphere, or maybe from Skyclad, with the sadness and epicness that relies on the instruments, but somehow much stronger, with riffs that crash one before another. This is good folk music without using overly "folkish" characteristics such as melody or instruments, it's just metal storytelling.

The synchrony between the guitars (and the bass, of course) is perfect as well, we can see a great work of arrangement, which was strengthened by its awesome mixing. It's the kind of music whose perfection itself is amazing. We can listen to it over and over again, and it'll still sound like a great tale, told in perfection.

Once again has Primordial surprised us all with their perfectionism. "To the Nameless Dead" is probably one of the most perfect albums I have ever listened to.

I have been asked many a time to explain Heathenism. That, of course is no small task and no small subject. However, only one way have I found to sum it all up. I sing:

"This is my church
It stands so tall and proud
It has done for all time..."

Primordial are truly a band unlike any other. Their music is so characteristic and unique that with the first few melodies you can tell what you're listening to. By now, you've probably read this a hundred, nay, a thousand times - Primordial are the descendants and heirs of whatever Gods you worship. They are immortals, giants that dwarf and ridicule everything and everyone that has ever tried to create music, for anything, when compared to their work, simply fails. This is the kind of album that would make people break their guitars and quit music forever.

Yes, well, maybe that's way over the top, but if any group of men is ever worthy of such uncompromising worship, then it is Primordial. They've been in the scene for decades now, and still haven't lost a step. In fact, they seem to just keep getting better and better, never really growing stale and outdoing themselves constantly. I thought their other works were masterpieces, but damn!

On to the album itself. First off, it is very consistent and Primordial never try experimenting too much. This can either be a good or a bad thing, and something that very much depends on people's preferences. I can totally understand people who find the album repetitive. I disagree, but understand. Repetitiveness is something I am all too weary of, but fortunately, Primordial don't strike me as such. That out of the way, all the instrumentation is superb, from the epic and atmospheric guitar work, to the driving drums and of course, Nemtheanga's vocals (the most driving aspect of Primordial) fit so perfectly to create a tight-knit, epic, compelling and atmospheric union. The huge length of the songs really helps in this aspect, as it allows for the atmosphere to persist undeterred until it enters your head. Most of the times the songs are quite dark and nihilistic, although the occasional epic masterpiece (such as Heathen Tribes) can also be found.

As much as the instrumentation is wonderful, it is another aspect of the music that truly makes this a masterpiece - the emotion. Primordial are the most sincere-sounding band I've ever heard. And it is such a strange emotion that rides the music - it's angry, but not in the standard way. It's dark and depressing, but not in the standard way. The only word I can truly ascribe to Primordial is - bitter. It is the emotion of the whole world deteriorating slowly and a grim realization and coming to terms with the inevitable end. Unlike a myriad of other pagan bands, Primordial have little to do with ancient mythology and forgotten gods, but a grim and intelligent commentary on human existence and the world that we live in. Among these are observations of the sad truth concerning the circular nature of human history, the ultimate description (along with Skyclad's Pagan Man) of Heathenism (Heathen Tribes), and one of the most appropriate endings ever. No Nation on this Earth. After all is said and done,

"The sea will be as a desert
When my bones are long to dust
Beneath shifting dunes
And the searing Unconquerable son "

And while the sea is a desert, here is a nice, victorious tune.

To The Nameless Dead is a masterpiece in all aspects, from the excellent, atmospheric and epic mastery of music to the very intelligent, bitter and sincere lyrics. No song on this release is bad. I have combed over this album myriads of times, and yet, I can not find no fault with it. Not many albums can receive that honor and substantiate it. Primordial do both, as they are one of the most creative, unique and fruitful bands out there, and I hope that they prove themselves time and time again for many years, or until the sea becomes a desert.

"Why do you love Heavy Metal so?" is a question, or variant of, I have been asked numerous times down the years and I have never had any trouble answering it. Yet, if there is one band, or one album that sums up everything I love about this oft-maligned style of music, it could quite certainly be Ireland's Primordial with their sixth album "To The Nameless Dead" which came out late last year. This is a band who have built up an ever-increasing fanbase through consistently improving records, standing their own amongst ever-changing fashions and trends, not playing into the hands of music business professionals or clingers-on, and are simply one of the greatest most passionate live bands I have had the pleasure of seeing. And oh yes, I forgot, both this and their previous album "The Gathering Wilderness" sit comfortably in my all time top 20 albums list. You could say I'm a bit biased when conducting this review, and you would be most certainly correct, but that bias has come from nothing but sheer unadulterated love of this band and it's music.

Where to start in reviewing an album as epic in sound and in scope as this? Having owned a vinyl copy of "To The Nameless Dead" since it's release at the tail-end of 2007 it's had countless spins to worm its infectious melodies and emotive atmospheres into my brain and I am pleased to say that its glory still survives after the initial period of excitement has died down. The sound that Primordial produce is really quite like no other. The vastness of the riffing, which still maintains an element of the Black Metal melodies from which Primordial were birthed, maintains a feel of epic grandeur that only the godly Bathory have ever mustered and is done in a less contrived, keyboard-based fashion than many current Folk/Viking bands manage. The term 'Folk Metal' is often used to pigeonhole Primordial but this tends to suggest a band using violins, flutes and other 'folkish' instruments which Primordial are devoid of, as their atmosphere comes from the haunting melodies contained within the lead riffs of guitarists Ciaran MacUiliam and Michael O'Floinn as well as a superb production nestling all instruments in perfectly with each other. Album opener "Empire Falls" highlights my point immediately with a quintessentially beautiful clean guitar guiding the listener in before the hard-hitting Metal takes over. And then it happens, Primordial's pièce de résistance, when vocalist A.A. Nemtheanga opens his mouth and lets out some of the damn finest and most passionate vocals ever heard in Metal, probably all of music if I knew any better. His vocal style still retains an element of the Black Metal shriek he used more prominently on past albums (see "No Nation On This Earth") but in general the man has shifted to singing and chanting akin to a warrior issuing a rallying war cry to his battle-hardened men in the face of inevitable defeat against invading armies. The lyrics of "Empire Falls" and "Heathen Tribes" suggest a similar level of passion in his tomes of intense national pride, making a very interesting read.

With the exception of instrumental "The Rising Tide", all songs are close to or over the 6 minute mark, four over 8, giving plenty of opportunity for the songs to weave and wind their own course as only Opeth know how, continually introducing new elements at different times and never for a second getting boring. "Traitors Gate" shows best the competencies of the whole band as a range of melodies create canvasses of numerous emotions, and drummer Simon O'Laoghaire fills out at the back brilliantly, never being the centre of attention but providing some truly delicious backing rhythms to push the whole thing along. "As Rome Burns", best shows the band's mid-paced style as it is interspersed with heavier bridges and choruses and slower sombre sections revealing the desperation of the themes contained within: "Sing sing sing to the slaves/ Sing to the slaves that Rome burns".

"To The Nameless Dead" is one of those very very few albums where every song is perfect and blends together to create a package greater than the sum of its parts. None of the songs sound particularly alike and the emotion dripping out of it is enough to have even the most hardened Metaller weeping into his pint. If the music world was meritocratic Primordial would have found their seat in the upper echelons and be playing stadiums by now as "To The Nameless Dead" fills out the few gaps found in the near-perfect "The Gathering Wilderness". Thankfully though it isn't, this kind of music can't be grasped by most. Only one mark is possible and of this I'm sure of it as the goosebumps still hit me listen after listen. Surely a future classic.

Originally written for Rockfreaks.net

This is a band that is unlike any other. Their brand or blended black metal is something that the metal realm has never seen. Thus, I am going to have to listen to their ENTIRE discography to draw some good conclusions about this album. At a single glance, this album is quite deserving of the near perfect rating that it has acquired after over 10 reviews. Compared to the rest of their catalogue, though, it has yet to be seen. Let’s not get hasty people.

To give an idea of the feel that this album renders to the listener, I can only draw parallels to a Hate Forest type atmosphere; namely, Purity. The atmosphere in TTND has a similar extremely fast tremolo style guitar sound. The strumming is so lightning fast, there is only a wall of chord remaining. This style is carried throughout the entire album, with relatively few portions of either clean guitar picking, or acoustic guitars; which can be heard in Heathen Tribes, and in the mid-song interludes of Empire Falls, and As Rome Burns.

The guitar work is quite good, and I appreciate an atmospheric and smoky that such tremolo styled guitar can offer. It is performed here very well, and with a well-defined chord structure. There is neither a muddy sound, nor is there a loss of direction for the chord progression itself. There are no guitar solos per se, but there are some solo-like fretwork that adds depth to the chord progression. There is a neat and clean sound due to excellent production and provides an excellent backdrop for Nemtheanga, who sings his heart out on this recording.

This is personally my favorite aspect of this band. Nemtheanga is a fantastic vocalist. His vocal styles can vary from a screaming growl, and an almost-black metal screech, to excellent clean vocals that have good range in all aspects. He reminds me a lot of Aaron Stainthorpe from My Dying Bride in his vocal style, both in his growls and clean voice. What really grabs me is how much power he has, and the gut-wrenching passion that can be heard throughout his performance. It is well captured, and comparing to when I saw them play live, there is absolutely no loss in effectiveness of taking the listener by the collar and commanding attention.

The lyrics being sung on this album lack absolutely none of the passion that the singing has, and in fact reinforces it. The lyrics are extremely heart-felt, and personal, and show a definite amount of effort, and thought. I wish to point out one song that had personal significance with me, and that is Heathen Tribes. The basic premise of the song is about the Earth being the church of the people, and that we are all from the same place, “Hewn from the same stone”. The third verse is as follows:

To whatever shore
You know as your own
We stand as one, we stand alone

Throughout the song, Nemtheanga discusses how, despite being in different places, we are all united in the earth. I see his heartfelt sincerity in his lyrics, and they are not just empty words trying to fit a niche.

As far as drumming goes, it is quite simplistic. This does not necessarily detract from the music, but I personally enjoy a bit of double bass. That is quite lacking in this album, as there are only a couple blast beats and double bass portions which are so sparse, I tried to go back through the album and find them, but was unsuccessful.

Despite all these excellent qualities that this band and album have, there are a few fatal flaws. For one thing, when compared with the back catalog, there is no change regarding sound. They have kept the same style vocals, drumming, and guitar playing from Imrama until now. One can become quite tired of listening to them after an album or two. I did, and when writing this review, I skipped around from beginning, middle of their catelog and back to TTND without variance of their overall sound.

Another issue that I had with this album is the lack of follow-through in regards to the buildups of the songs. They are very anticlimactic, and leave the listener expecting more in the way of a finish to each song. For instance, in the song As Rome Burns, after the soft interlude, there is a drum buildup, and the guitars begin to kick in and a chant of “Sing, sing, sing to the slaves, sing to the slaves as Rome burns”, but there is nothing after, falling back into the standard tremolo picking and left me feeling screwed over.

The final problem that I had with the album was that each song has no real structure. Each song begins, and meanders though verse to verse until its completion. The only exception for this is the first song, Empire Falls where there is a verse, chorus, verse, etc. With the songs all clocking in at over 6 minutes (except for the worthless track “The Rising Tide” which is only 1:33) a little structure would have been nice.

Final thoughts: I really love this album. Unfortunately, there could have been so much more done with it. I felt the songs begun to sound the same because the guitar style did not change. Perhaps they may have incorporated some solos to break up the monotony. There also could have been better finishes to the buildups in such songs as “As Rome Burns”, to drive home the point of the song better. This album, while excellent, is far from perfect, and I would be remiss to give it a perfect 100. Hopefully with the next release, Primordial can step outside their comfort zone, and wow it’s fans with something progressive and memorable.

Primordial has undeniably evolved over time. Beginning with black metal, more folk elements were slowly but surely incorporated. Make no mistake, if you're looking for another Finntroll, look elsewhere. Primordial lies on a whole other plateau. No keyboards/folk instruments are used. No overly catchy melodies or boisterous drinking anthems. Primordial is catchy without being cheesy, epic without being overdone, and well written without being technical.

So, although this is folk metal, it shares few characteristics with the other forebearers of the sub-genre. So what is Primordial? Think not of trolls, forests, or beer. Imagine epic battles and tales, told not with the jocularity of a drinking song, but the grimness and knowing of an old and lost fable, a tragedy from the past.

The premise is set. The feeling has been established as clear, but does the music match? Does it live up to such specific standards? Does it remain true to its black metal roots while incorporating folk elements? And does it do this without becoming overdone and overpowering? Yes.

So, Primordial returns with its 6th studio album, coming after the Spirit the Earth Aflame/Storm Before Calm/The Gathering Wilderness trio which has already achieved fame and praise from many. To the Nameless Dead not only lives up to this immense level which Primordial have raised for themselves, but it dashes over it to become my favorite album of 2007, and possibly, of all time.

Every aspect of To the Nameless Dead equals that of perfection. Each track is structured similarly, with black metal styled riffs on epic levels of which I have never seen.

Alan Averill was an excellent vocalist before this, but I am fully convinced that he pushed himself beyond his previous skill to get even better. Vocals provided included a great black metal rasp, a relatively clean style, and a very raspy, throaty style that somehow maintains all of its feeling. Emotion is presented wonderfully, and you really are filled with a doom-like sense of hopelessness when Averill sings:
"We are falling over the ends of the earth
So gather your sons and daughters before you
And tell them that these are the final days of all..."

As mentioned, the riffs of guitarists Ciáran MacUiliam and Michael O'Floinn are mainly made up of a constant barrage of black metal style riffs, although acoustic and clean riffs come along occasionally to keep things moving. The levels of said epic-ness never wane, and never become stale or overdone. The melodies are full of emotion which complements Averill's vocals and matches perfectly. The bass is used when necessary for occasional fills and such, and completes this job wonderfully.

On drums, Simon O'Laoghaire brings something new to the table. Not simply relying on the double bass/speed drumming standard of black metal, he uses all of his drums. Fills are common, tempo changes are wonderfully and smoothly made, and his rhythm work shows both technical skill and imagination. Metal needs more drummers who aren't afraid to deviate from the standard. Metal needs more drummers like Simon O'Laoghaire.

As I wrote this, I listened to this album again. I wanted to make sure everything I said was meant, that the album would be clear in my ears and in my mind while I sang praises to it. I can now firmly state: all praises are more than due. To the Nameless Dead is a raw yet emotional work of art. Never before have I heard an album that so seamlessly combines the elements of two sub-genres. Never before have I heard an album that so vividly conjures images of epic, medieval battles and burning cities. To the Nameless Dead never deviates, never falters. It does all this without reverting to the cheesy form that overly catchy/epic metal (see: Summoning, Finntroll) becomes. Buy this album now. Take it from someone who's been listening to this non-stop for nearly a year.

Primordial- To The Nameless Dead

There is little point in beating around the bush on this one; “To The Nameless Dead” is an album beyond comparison. It is vastly more than simply a sum of its component parts and not even the flawlessness of Simon O’Laoghaire’s martial, bodhrán-esque Pól MacAmlaigh’s intricate bass-lines, Micheal O’Floinn and Ciaran MacUilliam’s stunning leads and atmospheric riffs and of course, A.A. Nemtheanga’s emotive and raw vocal delivery, can fully explain how majestic a record this is. Almost every one of the 8 masterpieces on this CD (or vinyl if you opted for the Picture Disc Edition) begins with a mystical intro that prefigures the salvoes of Celtic-laced riffs and Nemtheanga’s stunning vocal work that ranges from uplifting and inspiring, to tragic and mournful, to pained and angered with the Black Metal vitriol of their early work still making itself known here and there. He may not always sing in tune but he adds tenfold to the authenticity of the album as his voice embodies the spirits of those “forgotten men who watch the centuries”, and this is an effect that is sure to be all the more powerful live. These aren’t songs or compositions; these are living, breathing, feeling beasts that resonate deep in the heart.

The album shows just how far Primordial have progressed in terms of sound and song-craft, but at heart Primordial remain a Black Metal band albeit, they are so distinctive that they sound like no other band on earth. Their progression is so complete that it would wrong to refer to them as an Irish band as these epic paeans to national pride and the indomitable human spirit provide a very real and important message for all the peoples of Europe. Even the songs which refer most clearly to Ireland, much like the poems of Heaney and Kavanagh, provide something universal through the parochial but it is the epic centrepiece “As Rome Burns” where Nemtheanga gives his stern warning against the peoples of Europe trading in their nationhood for empire building. With nationality such a central focus of this album, Primordial are sure to draw criticism in this politically correct monoculture we are entering but, raw and outspoken, this album shows that one of the most important bands of our generation have arrived in earnest. Metal doesn’t get much better than this.


Originally printed in Northern Blaze zine issue # 1; reproduced here with express permission of the editor.

Somewhere between the pseudo-folk of Korpiklaani and the overly xenophobic nature of Nokturnal Mortum, Primordial have found their own niche in "folk" metal. Over the years, they have evolved from being just another band in the overcrowded black metal scene to becoming one of the most unique bands in the history of metal. Their newest album, To the Nameless Dead, expands on the ideas put forth in The Gathering Wilderness. Primordial have managed to create folk metal without ever using a "folk" instrument or playing an overtly folkish melody. The "folk" in Primordial's music comes from their heart, their intention. One listen to the music, and you'll feel the folk, instead of hearing it.

If you haven't heard a single note of Primordial, it's a bit hard to explain. Imagine a somber, slower, more epic Skyclad. That's really all I can say. To the Nameless Dead incorporates their trademark grandoise compositions with a new sound that borders on rock. The black metal vocals have become less and less with each release, and they're barely noticable on To the Nameless Dead. Instead, A.A. relies more on soaring, melancholic vocals that never tread into power metal, yet have a sense of majesty. C. Macuilliam and M. O Floinn do an excellent job of creating atmospheric, droning guitar riffs that will freeze your soul.

Ultimately, if you like folk metal AT ALL, or consider yourself a true metal fan at all, I highly recommend this album. This is the true essence of aural art. This is beauty.

The sound Irish metallers Primordial have developed over the last few albums is actually a lot like Ireland (namely Eire); it’s sweeping, rugged, majestic and also barren and beautiful at the same time. There’s also a sense of sadness and loneliness built into the fiber of both band and land.

Nowhere is this more prevalent than on the bands 7th album, To The Nameless Dead, which has the unenviable task of following the critically acclaimed The Gathering Wilderness. Once again armed with rangy tracks of heathen pride and AA Nemtheanga’s throaty croon (arguably still the only sticking point with some fans, though I think it’s a perfect fit), To The Nameless Dead admirably fits the bill and delivers one of the most moving and epic albums of the year.

Admittedly opener “Empire Falls” doesn’t quite open the album in truly amazing fashion, but the rending threads and pained vocal work of “Gallows Hymn” will dig at your soul and wisk you away to some craggy battlement overlooking the crashing waves on Irelands rugged coast. “Failure’s Burden” is another epic track that is laden with a tangible sense of gruff sadness, but in contrast the albums other standout tracks like the knee wilting brilliance of “Heathen Tribes” (possibly one of the best tracks the band has ever penned) with its deft ethnic, pagan undercurrent and stunning chord progression and the almost pure black metal-ish “Traitor’s Gate”, arguably the most aggressive track the band has delivered in a while (even featuring blast beats and some rasps and growls from Nemtheanga) show the bands amazing dichotomy and range of emotions. The band are just masters of riffs that truly evoke subconscious, primordial emotion as well as the timeless beauty of their homeland.

Of note, the production seems to be a bit fuller than on The Gathering Wilderness,(another sticking point for some fans) with a bit more depth and bass but still retaining that strained, grainy tone that’s suits the material perfectly. All this just makes for a absolutely incredible album that follows the stunning The Gathering Wilderness perfectly and shows that Primordial are not only Ireland primary metal export, but one of the very best bands in metal today.

By Erik Thomas (Originally posted at http://www.digitalmetal.com)

The Irish kings of all things grim and dark, Primordial, offered the world their sixth opus in the early days of winter 2007. To The Nameless Dead, a powerful breath of melancholy, sadness and hope is nothing short of a classic. For fourteen years these Irishmen have been releasing state of the art black metal and their latest is yet another proof that they will never give in their music to labels, the public or critics. They’ve always been true to themselves and their roots and that is what makes them the giant that they are.

To The Nameless Dead is the rightful follower to The Gathering Wilderness, not because of their similarity in atmosphere (in fact there are almost none) but for their profound emotional strength. Primordial as always been very passionate about their music and how important it is for them that the songs they write reaches their culture and land. Not unlike Storm Before Calm, their latest album speaks equally of despair and pride and its melancholic overtones are always accompanied by strong and powerful melodies. The songs have each their personality and although the album, like all of Primordial’s work, is to be regarded as a whole, it is difficult not to take this record piece by piece.

The musicians of Primordial are at the top of their game and they have been working together for over a decade. These two elements are enough to explain the tight, perfectly executed musicality of this release. I will not praise their talent, it is known. As always, Primordial is folk without folk, music that sounds distinctively Celtic even though they do not use any folk instruments or choral chants. For all I know, Primordial is more Celtic than all the Cruachans of this world. To The Nameless Dead is a heavy album, probably the band’s heaviest to date and it is as atmospheric as it is epic. The songs all speak of nationhood and the strength in man when faced with death. The music can be regarded as progressive, and few songs follow the verse/chorus/verse pattern. I could delve deeper into the technicality within the music but I don’t think this is how this album needs to be reviewed.

One last important point is A.A. Nemtheanga’s performance. He already has a strong reputation, this we know but, on this last album, he simply proves that he rightfully deserves to be right up there with the best of the best, those that become legend. His performance on To The Nameless Dead is as passionate as it was back in the days of Journey’s End but it is improved by a decade of learning and amelioration. This is the best vocal performance I have ever heard, full of passion, melancholy and anger.

Highlights will not be listed, the whole album is one. Would someone name highlights on Paranoid? Primordial is one of those bands that remind us that metal is not dead, that there are still people out there who have something to say, to share. They have never sold out and never will. When listening to Primordial you listen to music that is as pure as Death’s, Burzum’s or Windir’s. I had very high expectations regarding their latest release and they have all been surpassed. This is their best to date. This album is the best of 2007. So go and listen to this album and if you don’t like it, it’s because you don’t understand it.

As A.A. Nemtheanga said and I quote: No compromise. Not then. Not now. Not Ever.

Celtic Black Metal giants Primordial are back with a brand new slab of metal so intense and grand, it makes their Viking counterparts look like queens. Primordial have been known to being insanely consistent throughout their career and winning over their fans every time, despite their love for experimentation. Even after two decades of being in and out of the industry and being overlooked, Primordial sound as epic, as mournful and as aggressive as ever. The only noticeable change being their progression into an incredibly proficient song writing team.


I've been a fan of the band for a couple of years now. 2005s The Gathering Wilderness being one my favorite black metal albums. I couldn't have imagined that album getting knocked down from its position so soon, but it has been and To the Nameless Dead is right up there among Anthems to the Welkin at Dusk, Frost, For Kunsten Maa Vi Evig Vike etc.


The album opens with Empire Falls and you can't help but be drawn into the simple yet eccentric world of Primordial. Battlefields, grassy landscape, ponies. Wait a second, wrong fantasy. Battlefields, grassy landscape, horses. Gallows Hymn. As Rome Burns. Failures Burden. These guys are relentless. Every song on this album is a masterwork of heavy metal. Even the short ambient interlude The Rising Tide - Keeping you on the edge with anticipation of what’s to come next. And there it is, Traitor's Gate - The fastest song on the album and just when you think there's no way they can top this one for a better album closer, comes No Nation on this Earth. A brooding melody is played over and over again until it becomes a part of your psyche and when it changes you'd wish it didn't. But the mid-paced song makes for an excellent album closer. As the song fades out, it leaves you hanging in the balance hoping for more.

The guitar tones on this album are really rich and the subtle use of the wall-of-sound effect makes it sound really lofty and voluminous without drowning out the rest of the band. Alan Averill gets the man of the match award for some of the most intense singing performances I’ve heard in a long while. His rather energetic melancholic voice soaring high above the rest of the band and at times managing to sound like a cross between Aaron Stainthorpe (My Dying Bride) and Kristoffer Rygg (Arcturus).

Highly recommended.


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