Conan - Blood Eagle (2014)
Napalm Records
Review by Trevor Proctor
For
several years Conan’s reputation and following within UK and worldwide
underground communities has been expanding and growing at an alarming rate,
testimony to their growth in popularity in the UK has been their two appearances
at the UK’s premiere metal festival, Damnation - held yearly in Leeds and
celebrating its 10th anniversary this year.
In 2011 Conan had an
early afternoon slot which proved to be one of my highlights during a day of
pure quality metal but by 2013 Conan were not only headlining the same stage
but were also in direct competition with the mighty Carcass who were headlining
another stage at the same time, a sure fire indication of the surge in their
popularity and confidence.
Hailing from Liverpool the three piece doom band is
made up of Paul O’Neill on drums, Jon Davies guitar and vocals with new member
Chris Fielding on bass and vocals – Chris has produced every recording for
Conan to date and joined the band as a replacement for Phil Coumbe who left the
band on the 15th November after finishing “Blood Eagle” at the end
of October - a fact Conan deliberately kept quiet until recently…
This
is Conan’s debut recording in Jon Davis’ Skyhammer studio and was produced as
always by Chris Fielding; Blood Eagle is also Conan’s first release on a major
label, Napalm Records so to say the band has a lot riding on this album is a
definite understatement. Traditionally first records with big labels can be
something of a tricky affair but thankfully this is not the case with Blood
Eagle. Starter “Crown of Talons” is quick to assure the listener a major record
deal doesn’t necessarily mean a sacrifice of sound or heaviness. We’re on
familiar ground during Crown of Talons, the first ten minute trip through
Conan’s desolate world; long, drawn out and down tuned notes, shouted vocals
and spine crushingly heavy guitar and bass trademarks lace this seriously good
album opener.
The album progresses in a similar fashion, churning; crushing
tracks that destroy all in their wake - the familiar Foehammer being a shining
example of this, with a faster tempo than the previous two tracks but
devastatingly heavy nonetheless - yet nothing about this seriously good album
even whiffs of repetition or a repress of anything they’ve previously released
as Conan stray from their well-trodden path at times but still manage to remain
faithful to their trademark sound. Track four Gravity Chasm is a perfect
example of their willingness to dabble with and try new sounds and styles – in
my humble opinion the best track of the album, this fucker grooves along and at
times reminds me of early Cathedral in terms of swagger, tempo and grooviness,
words you wouldn’t normally associate with Conan – yet thankfully it’s still
unmistakably Conan.
There are a number of moments like this peppered throughout
the album and I feel that’s what makes it such a landmark for the band. If
you’re already a fan of Conan you’ll not be disappointed with this album and if
you’re a new listener then Blood Eagle is an excellent introduction; whilst
it’s their heaviest work to date it’s also their most accessible – I know that
may sound like a contradiction of terms but it’s true.
What Conan has achieved
with Blood Hammer is exceptional; they’ve broadened, honed and improved their
sound without losing any of the heaviness that made us love them in the first
place. This is essential listening; you only think you’ve heard heavy, until
you’ve heard Conan.
1. Crown of Talons
2. Total Conquest
3. Foehammer
4. Gravity Chasm
5. Horns for Teeth
6. Altar of Grief
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