Neoheresy

I guess I'll be the polar bear and break the ice by saying I've never experienced Hellveto before in any fashion, but I do know "Neoheresy" is like a cell in Hellveto's ever-growing body of new records and releases that morphs and splits so frequently that Corey Taylor's brain works slower (not saying much) than L.O.N's ability to force out new material every time I wake up, it seems. Here's some prerequisite information: Hellveto is a pagan/orchestral metal band seeding itself with folk sections and orchestral influences among the project's abnormal function, equating the genetics of "Neoheresy." Apparently this is new for the band, but I have no previous experience with Hellveto, so it's all new territory for me regardless of whatever occurs. Overall, I can see the album is very different, quite poetic, beyond my expected standards, and a good listen for many reasons. Although Hellveto's particular identity is certainly a little difficult to digest at helm, the expressive cleverness and sheer might of L.O.N's untraditional aesthetics radiate with a perfect supernova of epic landscapes meeting dusky skies through an infinite journey of sorrow and gloom. Like that sentence? If not, "Neoheresy" is probably not for you.

So taking this from a newcomer's observation, I'll state the obvious: Hellveto's sound is anything but predictable. Right as the opening seconds of "Taran" engage, a chromatic explosion of mid-paced riffing and talismanic keyboards cycle in a strange aura of orchestral strings, folk instrumentals, and other highly-experimental ideas, while L.O.N.'s traditional features barrage this bizarre invasion with harsh shrieks and raw, pounding percussion. There's no need to assume this idea is the sole identity of "Neoheresy," however, because Hellveto's exploration into balancing these ideas throughout different songs and sections makes an already-flourishing nature something so unique and kaleidoscopic that the project's craftsmanship stands in a league of its own. It all may sound weird or a trifle pretentious, but Hellveto has the ground covered entirely and with a surplus of never-ending brilliance.

My top quality of this record though is the complexity of it all. I don't see the tracks necessarily as songs, but diverse, wild musical pieces that absorb, reach, and reflect the quality and layered madness found in L.O.N's deeply constructed world, which somehow flow magnificently. Within this great soundtrack of pagan-themed atmosphere, however, there are some awesome riffs pumping out melody or gigantic heaviness without a shred of mediocrity or anything remotely negative at the standard fault line, which you won't easily find in something as complex as Hellveto. The production is actually very crisp and lively despite Hellveto's disposition toward the raw and rare, yet the clear sound quality is exactly what a blueprint like "Neoheresy" needs; it's widely vibrant, and exploring each of L.O.N's instrumental puppets through galloping storms and folk-based adventures.

Unique, sophisticated, evolutionary, potent, dynamic...all are words that properly describe the world of Hellveto's "Neoheresy." It really makes me wonder why Hellveto in general is so obscure despite such a riveting journey of unmatchable substance, but whatever the reason for Hellveto's shadow still being kept in the dark, "Neoheresy" is a bash of material definitely worth the strain of currency, despite it being sandwiched between a shipload of other releases, which are large, plentiful, and seemingly a time-absorbent of magic which is probably enthralling. It's your loss if you don't give this a spin.

This review was written for: www.Thrashpit.com

The prolific L.O.N. of Poland has delivered his 11th full length album in just six years, and arguably one of his most successful at merging symphonic synthesizer elements with sweeping, slow to mid-paced pagan folk metal.

You'll notice an elevation in production values here, even over his more recent records like Stos and 996. The six tracks manage to sojourn through both sorrow-filled landscapes and glorious uproars. Instrumentation is well woven; the heavy use of atmospheric synthesizer never drowns out the guitars, bass, or vocals which all sit central to the mix. This is an album that would possibly appeal to fans of symphonic metal ranging from the bombast of a Therion to the more raw appeal of Summoning.

Despite the effort, it's still not a great album. Several of the compositions make it simple to lose oneself in their herculean glory, but even these are inconsistent. The rather steady pacing throughout can make the album less appealing, though it isn't without a few fast bits, for example "Sredniowieczna Egzekucja" with it's charge riffs but rather dull drum blasting, infused with bells and swelling synthesized strings. I'll reiterate that this is likely his best work to date, and with this level of progression I can only imagine how far he will take this over the course of the next 11 albums...

-autothrall
http://www.fromthedustreturned.com

Many have suggested that Hellveto's 'Neoheresy' marks a new era for the band. This is probably true, though the changes found in this album are so subtle that those not firmly entrenched in the project's lengthy discography probably won't notice it immediately if at all. It's definitely there, though, and marks an important upgrade in Hellveto's music.

The main change here is production; Hellveto's production has always been kind of murky and distant, but now the metal instruments are very forward. The aggression of the music has been stepped up somewhat, reminding one a bit of 'Zmierzch' somewhat, but overall it seems like much more care has been given to the metal instruments in general, both in production and composition. Hellveto's music has almost always emphasized the orchestral section over the metallic section, using the latter as an ambient backdrop to drive the overall sound, but now the actual riffing is a much more important part of the project's sound, making this one of the most accessible Hellveto releases to black metal fans since the project's earliest work.

While the production has taken a major step up, the overall nature of Hellveto's music remains unchanged: complex, full-fledged symphonic compositions working in tandem with a bed of pagan metal to provide an unparalleled listening experience. The compositions are just as complex as ever; this is no 'Klatwa', but a natural progression of the sound heard on albums such as '966'. The increased aggression in the form of storming riffs and occasional blast beats makes this a fairly biting and direct work by a project that is typically more reserved and introspective.

Even in composition, though, this feels like a true advancement: the greater emphasis placed on the metal helps separate this project more fully from the symphonic-only Blakagir. These songs feel very fleshed-out and unique, which is nice in a discography which by and large dwells within the same general melodic and compositional frameworks from album to album. This appears to be the start of a more forceful and intense but still elegant phase of the project's career, which is most certainly welcome after a period of more and more layering and attention paid to the symphonic aspects of the project's sound.

'Neoheresy' is actually a good starting point for a new Hellveto fan. One can work backwards and forwards from this album and from this alone even have a good understanding of the project's current sound. Hellveto fans, of course, will want to pick this up, as will anyone interested in symphonic extreme metal, as Hellveto's quality is, as usual, essentially unmatched. Highly recommended.

Typically one-man bands don’t fare too well. I’m sure you could come up with all the reasons why so many of them have come off generally poor, but more often than not, they’re both generic and self-indulgent. “Neoheresy” is the complete opposite of that.

This is metal, but even I must ask what kind of metal is this? It’s almost doomy, but I can’t really point to any doom references, and it’s not really slow. Instead, rhythm guitars chug along supporting guitar melodies and orchestras on top, topped off with harsh, wide toned growl, although there’s some single-voiced “ooo”-ing that helps carry the action along. The orchestral arrangements and choirs come pretty close to the real thing.

While some of the other instruments away from orchestras appear real, certain songs will go with a certain theme, perhaps from Egypt or India. One element that’s undeniable is the steady stream of power pouring off. Even when it’s the non-metal instruments taking up the reigns, the flow is still there. The closest thing I could get to was “Orchestral metal”, which is likely the most apt description you can get. It’s certainly one hell of a ride to a place you haven’t been to before.

Originally posted at www.waytooloud.com

This is like watching a demented opera performance about Medieval warfare or something. It defines cinematic in every sense. Those familiar with this Polish solo project will know that his music is the epitome of unconventional. It's difficult to label and I just call it black metal since that's what it reminds me of mostly. I suppose the definition on this site is accurate enough though. It's certainly "orchestral" because of the intricate synth arrangements.

LON (the dude) has made an alteration to Hellveto's sound on this album. The guitars are now much more up front in the mix and have a bigger part in the songs. This album in particular reminds me somewhat of Bathory. A great thing indeed! I think Quorthon would approve of what this lad is doing! If you haven't heard any Bathory go get his discography before LON has to personally come bitchsmack you.

Hellveto is definitely a "project" in the sense that it's a continuous experiment in bombastic, pagan-themed metal. Neoheresy represents a more guitar oriented approach in the typical Hellveto style. Which is to say, atypical. I'd be hard pressed to identify any definable song sections. The tension builds and releases as a track ventures on though. This is important because I'd find music that didn't have these qualities very boring. It's the most important aspect of songwriting. The songs go places and they do things and they are god damn interesting.

To better explain -- there's a flow to the compositions. Parts shift, sometimes often or sometimes slowly and gradually. New instruments appear or change what they're doing. Moody breaks and interludes even pop up. The whole time during your first listen you will NOT know what to expect. There is never a time where you'll find yourself predicting what's going to happen next. That is a truly awesome quality that Hellveto's music has in general and it's here in spades.

This is definitely influenced by classical music. Probably Wagner specifically. Together with the pagan underpinnings, Hellveto's releases are incredibly unique. Always keyboard heavy, even with a larger role for guitars. Those who dislike lots of synths steer clear! I admit, it's an extremely touchy thing to pull off well, but in this case it's done masterfully. This guy is like a real fucking composer or something! The instrumentation and it's interplay would have you believe a whole band is doing this!

Did I mention that it's still METAL though? That's kind of important. It certainly has the sinister metal attitude along with a more exotic, old world charm. The vocals are raspy and sometimes exhibit a Slavic shoutiness reminiscent of Eastern European black metal like Drudkh. The percussion is powerful and interesting with varied beats and little accents along with the occasional fill. He's quite competent behind the kit! The snare manages a generic black metal "flat tire" sound without totally pissing me off so that's good. It doesn't have the "crack" to it that I like in a snare though. Possibly the bead wire is lowered? Might it even be a tom? It works however so it's irrelevant.

The guitar tone recalls a more heavily overdriven amp sound where he's getting added texture from a strong pick attack rather than lots of gain or a pedal. The playing is solid. There's some simplistic and melodic single note riffing along with the usual power chords. The requisite black metal picking technique is here as well. You know the one...it conjures up fucking snow storms. It's like half tremolo/half pendulum strum of a two note chord, typically in the middle to upper registers of the instrument. Usually a regular root/fifth (power chord) shape, but often it can be a fretted note and an open string together.

Sound quality here is pretty natural. This was certainly recorded on nice equipment but there is no quantization and no triggered drums. I believe LON produces all of his work himself! Not a lot of polish but some careful attention to the levels and panning instead. I imagine it was very tedious given all that's going on here but it paid off. You can distinguish the different layers and tell which instruments are playing what. The vocals are present without burying the mix or getting lost. The percussion and synths are nestled in near perfectly as well. Plus you can hear the guitars now!

The truly amazing thing about Neoheresy is the composition though. HOLY MONKEY, I say! Incredible stuff...this whole discography is great but pick up this album first and place it in your cunt thusly. I've already touched upon how the songs play out, but I'll give you an example of the opening track (my favorite). Taran is one beast of a tune. It begins with a floor tom hit and the start of a cool power chord progression. The sound of horse hooves approach...

THAT'S RIGHT. WHEN YOU HEAR HORSE HOOVES WITHIN THE FIRST MINUTE OF AN ALBUM, AURAL SEX IS IMMINENT.

Taran is cinematic without relying on some tacked on samples. A mounted LON charges up to you and the sound of a sword rings out. The instruments immediately lock into a quick muted flourish with this mad pagan scientist growling mightily. He's cut off my head within the first seconds of the opener! Pure win. He does it once more in the song just to make sure I get the "point". Eat my lame puns, bitches. The rest of the album is just as good. I'll stand by my statement about placement of art into cunt for guaranteed satisfaction.