Bindrune Recordings: Woodland Denizens unite!

Metalpsalter.com (Peter)
It seemed like only yesterday that the talented guitarist known as Nechochwen was soothing the souls of people who listened to Algonkian Mythos with his take on Native American folk sounds. Okay, so it was 2008, but given that the album is still in heavy rotation, it should come as no surprise that an upstart record label like Bindrune Recordings takes notice. With a new album in Azimuths to the Otherworld and a chance to reach a wider audience, Nechochwen does not disappoint.

Like the previous album Algonkian Mythos, there is a story behind Azimuths to the Otherworld. In the case of this album, it covers the world of the Adena and Hopewell people that dwelled in the Ohio River Valley nearly two millennia ago. Combine that with Nechochwen’s Native American folk influences and the influences from his former band Angelrust and the results are as astounding as they are captivating. For starters, there is more of a metal music element on the album that will throw off people who are familiar with Algonkian Mythos unless they are also familiar with Nechochwen’s previous work in Angelrust. That element adds a new dimension to the story that he conveys on the album, as well as the sound that he has seemingly perfected. There are also vocals, which give a clear reminder of Nechochwen’s metal influences. They aren’t always on display, but when they are, they are done in a manner that accurately reflects a particular chapter in the story, as evidenced on “Allumahammochwen: The Crossing” and “At Night May I Roam.” For the most part though, the star of Azimuths to the Otherworld is the stellar acoustic guitar work of Nechochwen, which is just as good as the work on Algonkian Mythos, if not better, as “Graves of Grandeur” shows. The track “Four Effigies” features four parts to the song, with “The Turtle Effigy”, “The Adena Pipe”, “ Amanita Mushroom Wand”, and “Weeping Eye” comprising the track, and is by far, the best track on the album and embodies everything Azimuths to the Otherworld sets out to accomplish.

Nechochwen made his introduction in 2008 with the release of Algonkian Mythos and an acoustic set during Heathen Crusade 3. Although only a handful of people got to experience either, it was enough for those who did to expect bigger things. Now, with a new record label and higher expectations, Nechochwen has met those expectations with Azimuths to the Otherworld. About as perfect as an album can be in every sense of the word, there is something for everyone, whether it be the soothing acoustic sounds of Native American folk, the organic metal sound that carried over from his Angelrust days, or just a strong sense of storytelling. It’s early in the year, but anything short of a top-ten mention at the end of the year would be a major upset.

teethofthedivine.com (Erik Thomas)
Metal is full of bands that cull from culture, history and heritage. From the obvious pagan Viking bands of Scandinavia and Eastern Europe to the Saxon throes of Wodensthrone and Forefather, the Middle Eastern themes of Nile and Orphaned Land, Greek metallers Rotting Christ and even Aztec based metal like Mictlantecuhtli. But if ever there was a culture/race that was perfect for metal, it was the Native American Indians. Mysterious, ritualistic, nature worshiping, brave warriors of the old world (I’m fully aware that’s the Hollywood stereotype, but that’s the one I’m going with). They seem perfect for the basis of a metal band. So here is one.

A two man project (mainly former Angelrust and Harvist member Aaron Carey) hailing from West Virginia, Nechochewn (Carey’s given Lenni-Lenape Indian name) is based on the Adena and Hopewell peoples, a mysterious group of ancient American Indians known for constructing giant burial mounds and effigy earthworks in the Ohio River Valley region more than 2000 years ago. Thusly, the music on Azimuths to the Otherworld is congruent with such themes. It’s mostly ambient, acoustic, tribal and folky, but with strains of doomy black metal and post-rock akin to label mates’ Blood of the Black Owl’s first two albums. It’s the kind of album you’d usually expect to hear on Prophecy Productions and it’s brilliantly hypnotic and engrossing.

While certainly more appealing to fans of bands like Blood of the Black Owl, Neun Welten, Tehni and Subaudition there are elements here that I could see appealing to the ‘hipster’ black metal set (mainly Agalloch, but also Wolves in the Throne Room, Fen, Altar of Plagues etc) as when Nechochwen do delve into more riff based realms (which isn’t very often), it has that organic, layered, earthen and largely instrumental feel that imbues mist filled valleys and waterfalls rather than craggy, frosty hostile mountains. These moments (i.e. “Allumhammochewn: The Crossing”, last moments of “Red Ocher”, “Charnel House”, “Confluence”, droning “Four Effigies”, somber doom of closer “Graves of Grandeur” (Reprise)”) amid the spoken words, acoustic, tribal beats, rattling and spirit calling rituals that make up a majority of the album, do keep the album within the realms of metal, but just barely.

Otherwise, atmospheric tracks like “Glissis Mikana”, “At Night I May Roam”, “The Eyes of the Mesingw” and “Graves of Grandeur” are hypnotic, soothing and captivating yet melancholic moments that capture the call of the wild and the grief and strong spirit of a culture wronged and virtually wiped out but not forgotten.

masterful-magazine.com (Wouter)
Epic folk/black metal act from West Virginia in the vein of Agalloch and Empyrium heavily inspired by the history, heritage and folklore of its Native American inhabitors. Rich acoustics with serene percussion and a multitude of vocals. The acoustic instrumentation dominate over their electric counterparts. A slight comparison could be made to Australia's Ironwood and to a lesser degree (later) Neurosis. Like these bands Nechochwen rely heavily on acoustics, tribal drumming, ethnic instrumentation and brooding mountain-man singing that recalls Neurosis' iconic Steve von Till. Contrary to Ironwood this band is more introspective and meditative. Nechochwen isn't easily comparable to any of the currently popular folk metal acts as these reduce the genre to nothing more but polka-driven drinking music."Azimuths to the Otherworld" focuses primarily on the burial traditions of the Adena and Hopewell circa 200 B.C. to 1200 A.D, but also draws influence from the wisdom of the Lenape, Shawnee, Ojibwa and Lakota tribes. Recorded at Sacred Sound Studio by Andrew Della Cagna in Martin's Ferry, Ohio the production emphasizes the band's reliance on acoustics over actual metal. It are these acoustics that make Nechochwen so interesting. Certainly give this band a chance. 8/10

http://www.heavyhardes.de (rough translation from German)
Nechochwen called the one-man band from West Virginia, which has made it his goal to tell us about the ancient cultures of this region. "I want to spread knowledge of my area's roots through interesting soundscapes that are as dark as the history behind them." Can be read on the MySpace page and it sounds interesting. A mixture of black metal sounds and Indian heritage?

The first thing that strikes you when you can rotate the disc, the acoustic parts, building, recorded with a guitar, a unique melancholic dreamy mood, and it started to weave the stories are told. Added to that, from time to time, fat sounds, from drums, driven by the guitars back and hergezerrt and supplemented by dark growls. But these are scattered rather decent, and nevertheless Metal as a style seems appropriate. And just as there are even flute sounds as familiar from Indian music. Native American Metal flat, a blend of old traditions, Arragements classical and metal.

Azimuth To The Otherworld is the second disc of Nechochwen, with the debut of Agonkian was already registered a first success. Unfortunately, so far I could still learn much about the musician himself or his connection to Indian culture in West Virginia, but there are preferred on this disc with the knowledge and stories of the Adena and Hopewell, which uses Echochwen.

The focus is on the side of the guitar and on the side of classical music, yet the recurrent objections on the part of the metal give this music a life of its own. The Melancholy of Opeth Damnation coupled with Bathorys metal, sort of, I would best describe this disc.

Those who want to enjoy this disc should be supplied by time, because this disc is required. Access is not necessarily easy and it takes a few runs, until you begin to understand the arrangements. But they are worth.

metalreview.com (Jordan Campbell)
Yet another intimately-crafted project under the increasingly esteemed Bindrune banner, Nechochwen is a nakedly honest folk entity. While the folk metal tag has taken on a Kryptonite-esque connotation for some, this is as far from the status quo as it gets. Certain European purveyors have become veritable clowncars of frivolties (warpaint, alehorns, etc.), whereas Nechochwen's music is totally free of gimmicks...or any European influence whatsoever. This distinct, acoustic-based entity is steeped in Native American history, and Azimuths to the Otherworld is one of the purest pieces of Western folk music the metal world will ever experience.

My introduction to Nechochwen was an unwitting encounter at Heathen Crusade 3 in 2008, when it existed as a solo project of Aaron Carey (Angelrust, ex-Harvist). On the second day, in a lull between sets, Carey perched himself on a stool in the corner of the bar. With a woefully tacky Pabst Blue Ribbon sign (and a dome hockey table) as his backdrop, he played a brief acoustic set--sans vocals--as various diehards and LARPers crashed the bar and clamored for refills. Amidst the commotion, a few began to take a genuine interest in his performance.

At the next break, he took his stool again--this time, the bar traffic was tempered, as he was beginning to draw a crowd. This set was just as brief as the first, but it garnered an enthusiastic response. By his third and final set, a small cabal of metalheads had gathered around him-- sitting crosslegged, like obedient kindergarteners at storytime--in amazement and respect of the combination of dexerity and honesty on display. I was among this group. We were fuckin' enthralled, officially rendering an acoustic performance the highlight of a two-day metalfest. (Well, breaking my neck to Inquistion's pitch-black riffstorm was pretty rad, too, but that's a story for another day.)

The point of this anecdote? Well, it's proof that despite an overt un-metalness, Nechochwen's music was not only a welcome respite from our typical fare, but was just as cerebrally engaging, if not moreso. And with Azimuths to the Otherworld, Carey has bridged this increasingly-minor stylistic gap quite admirably. Now a two-man unit, Nechochwen has added significant metalllic structure, and they waste little time in stating this. The crunching distortion and surprising blastbeats on opener "Allumhammochwen - The Crossing" raise eyebrows, and the accompanied harsh vocals arch them even higher towards the hairline. Worry etches it's way into the skin. Has Nechochwen morphed into a black metal band? And a terribly standard one, at that? Aside from a nice stomp riff that signposts the chorus--and an uplifting solo at the six-minute mark--Nechochwen: Electric Edition does little to impress.

Fortunately, this foray into mediocrity is extremely short-lived. The second track, "At Night I May Roam," is quite beautiful. Containing the lush, finger-picked guitar work that we bought the ticket for, it also contains a glorious vocal harmony that truly sets the stage for the album to come. According to the band, Azimuths to the Otherworld's compositions are based on the indiginous peoples' construction of burial mounds and effigies as a means of providing safe passage for the dead to said 'Otherworld.' "At Night I May Roam" nails that vibe almost instantly. "Gississ Mikana" continues a journey into the unavoidably Opethian waters of "Red Ocher," a welcome and familiar bath for those that may be wary of exploring an album so distant from the trodden path.

From here, drums and electrified swells are used solely for climactic purposes, and to impressive effect. And while these crescendoes are stunning, the understated acoustic renderings tend to shine the brightest. "Graves of Grandeur" is gently somber and lilting, eventually pushed over the cliff of darkness by a delicate piano. "Nomeatha, You Are the Ghost in the Water" is absolutely heart-rending, as naked and soulful as anything in recent memory. And "Four Effigies" is all nimble n' dextrous acoustics for about six minutes, before dropping jaws with with some sky-stretching, gloriously reverb'd lead work.

That hypnotic soloing bleeds into the title track, which also marks a triumphant return of robust, slightly blackish metallics. It's an appropriate, impactful close to an amazing journey. Azimuths to the Otherworld is far from typical: it's largely acoustic, mostly instrumental, and its subject matter is heretofore untouched in the realm of heavy metal. That last aspect makes Nechochwen worth investigating; the conviction and skill with which it's delivered makes them worth revering. Expertly conceived and incredibly accessible, this is not simply a diversion from the norm for the skull-crackers out there. As a sweeping, folk metal opus, Azimuths to the Otherworld belongs on everyone's ever-growing must-hear list in 2010. 8.3/10

rockfreaks.net
The US label Bindrune Recordings has suddenly been thrust into my consciousness with a collection of releases brought to life under the label's ethos of releasing "original works by artists not afraid to push the limits, and embrace the sometimes beautiful, often destructive side of music". Through listening to the brand new albums from Blood of the Black Owl, Celestiial and Nechochwen it is hard to disagree with such a statement for all three lie outside of normal genre conventions, thus aligning themselves more closely with the original template of black metal, from which they all derive varying levels of influence, than many more typical BM acts of today.

First up, Nechochwen. Of West Virginian descent and formed in 2005, the band is the creation of a man known also as Nechochwen, with "Azimuths to the Otherworld", his/their 2nd full length; a vast and emotional exploration of Native American Indian heritage built upon a tapestry of classical acoustic guitar interspersed with sporadic moments of earthy, heathen-istic pagan/black metal. If that sounds a bit daunting to you then fear not as it might just be worth your investigation anyway: for someone like me coming from my background of metal uber-fandom it is intriguing to hear the genre being stretched and manipulated with different influences to end up with a record which refuses to be categorised.

At 14 songs and 59 minutes long, "Azimuths..." is a demanding listen, and one possibly best broken up. Opener "Allumhammochwen: The Crossing" does not fully indicate the path yet trodden: spoken word and soft classical strumming lead into an enticing and approachable blackened metal spell touching on the sounds of Drudkh, Fen, Wolves in the Throne Room and old Ulver. This section resembles one of a relatively few moments in which Nechochwen spends concerted time in metal territories against the backdrop of brooding and natural acoustic guitar, but it does go to show his compositional awareness in doing so, a fact I sadly found lacking in Ironwood's very similarly styled album, ":Fire:Water:Ash:", of last year.

Referencing Opeth in an album so rich in acoustic and classic dynamics is virtually unavoidable, and though I would not label the Swedes a major influence on "Azimuths..." I would suggest fans of their older material in particular check out songs here like "Gissis Mikana" and "Red Ocher" as something they might strongly appreciate. In a nod to classic albums like "My Arms, Your Hearse", the excellent mix here allows the fragile, ethereal acoustics to sit nigh on perfectly against the harsher metal elements when they do appear, with "Confluence" a fine example of this. To anyone who knows my tastes they should not be surprised when I state my preference for the moments of greater vigour in songs like "Confluence" and "Four Effigies" which possesses a heaving doom metal core once it comes to full-blooded life.

"Azimuths to the Otherworld" is very much an album created for the joy of performing such music; not for meeting the needs of a defined audience. As such a grading becomes a little obtuse, but to assign one to this piece of art it needs to be said that there is great emotional depth to be found in these tomes, however recommending it whole-heartedly to a metal fanbase is difficult such is the sporadic use of metal dynamics within the classical template. Nevertheless, a highly interesting album that stands proudly different from anything else.

www.metal-army.com (Brian Krasman)
Ever since the broad distinction of heavy metal was born, its fans have been asked to endure and accept many, many alterations. It’s worn makeup, grew its hair long, played with swords, cut the hair, inexplicably put the make-up back on and hired DJs (oh, nu-metal, damn you to hell), roughed up its sound, and even put on a entirely different kind of face paint to evoke Satan or simply push mere heathens to revolt against society.

But in the past decade or so, the call to nature has grown stronger as time’s ticked away. Even Norway’s hulking IMMORTAL long have paid homage to the woods and ice of their homeland, and in the States, WOLVES IN THE THRONE ROOM and AGALLOCH not only have steadfastly revealed their devotion to their own branched canopies, but they’ve embraced more earthly, quiet tones at times that acted as a balance to their otherwise cascading carnage of metal.

West Virginia’s NECHOCHWEN take an even deeper step toward woodsy folkish terrain and other paths not commonly trudged among metallic warriors, and add a richer sense of spirituality borne out of their desire to investigate and understand Native-American roots. In fact, the majority of the songs on their sophomore effort Azimuths to the Otherworld are quiet, reflective and calming, which may not exactly trigger a blood rush in every horn-hooking, mosh-seeking metalhead.

Yet, maybe it will. As stated, there have been so many face changes to absorb over the decades that what NECHOCHWEN accomplish could be a mere natural progression, excuse the pun. There’s savagery and oozing sinew for certain on opener “Allumhammochwen – The Crossing” as well as “Red Ocher” and “Four Effigies,” where the serenity is interrupted by a hanging curtain of doom, but much of what meets you on Azimuths to the Otherworld are image-rich and thought-provoking pieces such as “Graves of Granduer,” “Hunting Among the Stars” and “Confluence,” simmering in classic acoustics and sprinkled chants.

Records such as Azimuths to the Otherworld prove not only are metal fans and the genre’s artists flexible enough to embrace each generation of change but that we relish it. We’re becoming deeper thinkers, more aware beings, and just because the albums flooding from our speakers aren’t riddled with steel and thorns, it doesn’t mean the DNA isn’t metal through and through, which NECHOCHWEN certainly are.

www.hellbound.ca (Jonathan Smith)
Hailing from West Virginia, Nechochwen is both an individual (Aaron Carey) and a musical project that creates music centered around the local aboriginal history. To classify Nechochwen’s sound as belonging to any one sub-genre is difficult, particularly given that Carey’s focus changes with each release. As my first exposure to Nechochwen, it has become clear to me that Azimuths to the Otherworld is an album that demands to be taken in from start to finish. It asks the listener to engage with its many atmospheric layers as they appear. While for simplicity’s sake the album could be classified in its entirety as folk metal, listeners are immersed in a variety of instrumental interludes and lengthy songs that vary from the completely acoustic with clean vocals to the pounding drums, buzzing guitars, and shrieked and growled vocals of blackened metal. The trick with Nechochwen’s latest effort is that the sound can and will change drastically in the middle of songs (making any attempt at distinguishing between the “softer” and “harder” tracks more or less useless). A perfect example of this is “Red Ocher” — its urgent acoustic riffs explode into sharp growls and blast beats with no warning towards the end of the song. With a total of fourteen tracks, Azimuths to the Otherworld is an album that sticks around and ensures that its weight and spirit aren’t easily ignored. With his emphasis on different subject matter and with some new takes on blackened metal and neo-folk tropes, Nechochwen’s latest effort is well worth multiple listens.

www.metalteamuk.com (Pete Woods)
I have certainly enjoyed the three download albums that arrived from Bindrune Recordings recently. The label’s artists obviously share kindred ideals that embrace both nature and spirituality. I was not really versed in any of their artists apart from the UK’s contribution to their roster Wodensthrone previous to these. With only nine groups currently signed to the label I am guessing they will be selective with their artists and considering some of the rubbish the bigger labels splurge out that can only be a good thing and I look forward to more from them in the future.

Last one that I am tackling are the strangely named Nechochwen from West Virginia. Like others on the label they embrace the history and heritage of the Native American Indian, which one can at times hear shining through in the music. This one man project released a debut album which sounds fascinating as ‘Algonkian Mythos’ picked a set time period to focus on the French, Indian war. ‘Azimuths To The Other World’ goes on to “journey into the mysterious world of the Adena and Hopewell people that dwelled in the Ohio River Valley nearly 2 millennia ago.” More information on this can be found on the Bindrune link at the bottom of the page as I best concentrate on the music itself rather than get carried away on the background behind it (although tempting) anymore.

‘The Crossing’ starts with fragile guitar work and a tom-tom beat before a spoken word passage with a Yankee twang comes in with a bit of background information. The throttle opens and this then flies into a heathen cleave which is black metal in essence, with throaty vocals and a great melody pounding in behind it. This is not a taste of things to come however as much of the music contained here on these 14 tracks concentrates more on subtle melodies around that acoustic folk etched guitar. I really do love this first song and in a way am disappointed in the way that the album does not continue in the vein but still as it goes on to take a different path it is still one that is very interesting and illuminating to follow. The guitar textures are lush and sparkle like light glinting through the trees on a forest path and the vocals around them on numbers such as ‘At Night I May Roam’ are equally soothing. After losing yourself in lots of shimmering guitar work you are suddenly snapped back into ‘Red Ocher,’ which has some nice female vocals in the background and a hefty drum ballast before ‘The Eyes Of The Mesingw’ takes us into much more traditional sounds of the Red Indian word. The Americana twang of ‘Charnel House’ and a more sombre melody is next up but another flurry of drums reminds you that this is music that retains heaviness at times.

I was perhaps expecting more to really invoke the spirit of the past and the traditional sound of the Native American people. There is not actually that much apart from the brief interlude mentioned earlier and ‘The Forgotten Death Ritual’ another incidental piece of pipe music. Also I feel that a couple of the guitar noodling tracks could be cut out to give this a more immediate feel as at an hour the interest does begin to wane towards the end. Still aside from all that if you are looking for something a bit different you will, as with all the Bindrune, acts find it here.

Absolute Zero: http://azm-magazine.blogspot.com/ (Clint Listing)
So what do we have here?? Native American, Prog Black Metal???? Does that really make any sense?? I hope it does as I have no where elese to go with this release. Nechochwen have a strong love for all things Thrash metal in they way the Black metal is presented. There are very lovely acoustic moments mixed with what almost sounds like to me if Opeth were a black metal band. Azimuths has a very spirtual overtone going on here there is nothing holding that back. I love the thrash metal almost Ihsahn or Devin Townsend sounding solos going on. The productions is a bit thin but I think that is very much done on purpose as when the acoustic moments happen its a much fuller sounding release. I hate to use the word Post Black metal or Indie Black metal but there in similar sounds as those genres. The clean vocals do work very well. I almost want to say they have a viking metal sound but there not viking metal in anyway. Nechochwen is a very interesting project to say the least and an adventure in the making for many of you including me.