harrow-fragments-reviews

Review from Heathen Harvest Webzine

Wed, 29 Mar 2017 02:19:36 +0100

From: Heathen Harvest

Published: March 28, 2017

Fragments Of A Fallen Star was originally independently released digitally in 2013, followed a couple of months later by a cassette edition through Shadow of the Stone. Last year, however, Canada’s Hypnotic Dirge Records were kind enough to finally reissue this sophomore effort as a digipak. Thematically, Fragments Of A Fallen Star is extraordinarily cohesive, from an album cover featuring a cosmic goddess of sorts with the universe in the background (an image not dissimilar in spirit to the 2013 Stella Natura logo) to the overall feel of the music, which begins and ends with the sound of a fire’s crackle, representing these fragments themselves returning back to the universe. It ultimately speaks to a more primitive consciousness wherein humanity was content to simply reflect on the great unfathomable vastness of the night sky while warming themselves by a fire. There was an awareness present in those days, of being on this floating rock that is truly experiential and therefore ineffable.

Mixing the raw bestial black metal of country mates Conqueror and the Northwest acoustic blackened folk of Skagos, Harrow creates a unique vision that has large cross appeal within the genre. This unique combination gives Harrow the ability to walk their own path while obviously being influenced by certain genres, and in particular their local peers. Being both the title track and the first song, “Fragments of a Fallen Star” is almost half of this four-track album on its own, and because of this it almost feels more like an EP. It certainly is the album’s showcase track and the one song that I think displays the band’s full range of abilities. Beginning with some entrancing noises, in time an acoustic passage with clean vocals seeps in, the kind of folksy ballad that is easy to hum along with. In time, it builds and builds into a swirling riff and erupts in a violent maelstrom complete with some seriously tough vocals that completely balance the softer section from earlier. A guitar solo reveals the traditional side of the band before a climatic false finish that leads to some primal screams and a drum piece that hints at Neurosis. I kept wanting the song to go somewhere else, but after repeated listens, as an ending it is quite strong and really shows the elemental aspects of the band.

“Keening” takes its time getting started, and when it does, the initial riff isn’t bad but the guitar has this strange sound that doesn’t quite sit well with me. There is a very repetitive lyric that is actually borrowed from a couple different local Northwest musicians/artists, one being Schroder’s—a performance artist, writer, and activist—slogan “Do Not Seek The Light.” This initially threw me off guard, although it’s pretty cool to hear a lyric and know where it comes from, but it is not a strong enough line to carry a large part of the song. Alongside the guitar tone, the only thing I can really say this song has going for it is a decent riff, but it really never goes anywhere.

“Song of Seasons” makes up for this with an old-school approach that is very satisfying to the ears. The opening riff hits my sweet spot, and when it speeds up this is as fine a black metal song as anything I have heard. The drum work and all other aspects are solid, and I love the discernible yet still absolutely grim vocals. At one point there is a well-placed grunt that completely sold me as only the best can do, before a section where it is largely just the vocals erupting into a declaration of intent. I would honestly like to hear an album’s worth of material just like this, as it is solid and condensed, confident in its ability to be a song that sticks out for how good it sounds, not for reinventing the wheel. The acoustic section at the end fits well as the album closer, which is at first almost a complete 180 that includes a banjo performance. It really gives a sense to the idea of closure for the journey, although I don’t think the album is long enough to really warrant this.

Harrow has a lot of interesting things going on; their drummer, Jacob Moyer, is one of the most creative I have ever heard, and the spectrum of various guitar effects that Ian Campbell utilizes throughout are often dynamic and exploratory. Even for an album that doesn’t come off as an album proper, Fragments Of A Fallen Star can feel a bit drawn-out at points, but I also recognize that Harrow could easily write an album that showcases the talents of this band and puts them in the spotlight for years to come.

Reviewed by: Patrick Bertlein

Review from Aristocrazia Webzine

Thu, 09 Mar 2017 09:42:44 +0100

From: Aristocrazia Webzine

Published: March 6, 2017

Original Link

Guardare indietro puntando al futuro è ciò che stanno facendo i canadesi Harrow. La formazione guidata da Ian Campbell (voce e chitarra) ha visto infatti rinascere in versione cd il secondo album "Fragments Of A Fallen Star" lo scorso anno, pubblicato in origine nel 2013 in formato digitale e cassetta, grazie all'attenta Hypnotic Dirge Records; disco preceduto nel 2011 da "Wanderer" e poi seguito nel 2015 da "Fallow Fields".

Quando si parla di suoni accostabili alla «Cascadian Scene» o di black metal atmosferico, l'etichetta di Nicolas Skog è sempre presente e affidabile, non sorprende perciò che anche stavolta il materiale immesso nuovamente in circolazione meriti di essere tenuto in considerazione. L'album in questione si gioca tutte le proprie buone carte già dalla traccia eponima situata in apertura: lunga ben diciotto minuti (praticamente quasi metà lavoro), al suo interno è possibile apprezzare le due anime musicali e atmosferiche della band. Da un lato uno spirito riflessivo, intimo, ultraterreno e incline a un viaggio spettrale-astrale; dall'altro una disposizione naturalistica e vibrante, nella quale melodia e accenni di ruvidità convivono pacificamente. In certi momenti poi sembra proprio che il percorso annerito battuto dai musicisti nordamericani tenda ad assumere connotati maggiormente psichedelici e classici dello space, sfoderando pure un accentuato feeling blues nei brani successivi. I frangenti più caustico-epici della proposta pare invece siano racchiusi soprattutto nelle emozioni a tratti irruenti di "Song Of Seasons".

Gli Harrow non inventano nulla, del resto il modo di rapportarsi con il genere ha da tempo illustri rappresentanti in Agalloch e Wolves In The Throne Room, così come forze altrettanto valide in Panopticon e Skagos. Inoltre non sono proprio perfetti: per esempio la voce di Campbell non è che faccia impazzire nei passaggi black metal. Nonostante tutto, potete però considerarli come abili seguaci di un panorama oggi più ricco che mai e al quale una gran fetta di ascoltatori si sta decisamente appassionando. Se siete sintonizzati sulla loro lunghezza d'onda, posso quindi suggerirvi di farvi accompagnare nelle vostre escursioni sonore da "Fragments Of A Fallen Star", sarebbe una compagnia alquanto piacevole.

Review from Metallifer Blog

Sat, 07 Jan 2017 20:32:14 +0100

From: Metallifer Blog
Published: January 5, 2017
Original Link

Published: Harrow est un groupe de black metal canadien originaire de Victoria dans la Columbia Britannique. Le groupe a été actif entre 2009 et 2011 sous le nom de Wraith et à cette époque il a réalisé trois démos. A l’époque de Wraith il s’agissait d’un duo formé par Ian Campbell (Vocals, Guitars) et K. Brickell (drums). Ensuite il devient Harrow toujours avec le même line-up. Harrow sort son premier album Wanderer en 2011 sous forme de cd-r en édition limitée. Ensuite ce même album sort en 2012 via Prairie Fire Tapes en cassette. Cet album est bien accueilli et Harrow sort ensuite Fragments Of A Fallen Star en 2013 en format digital et en cassette limitée à 100 exemplaires via Shadow of the Stone. La cassette est vite épuisée. Ensuite le groupe sort en 2015 son troisième album Fallow Fields encore en cassette via Broken Limbs Recordings (limitée à 150 exemplaires et encore très bien vendue) et en digital et physique via Avantgarde Music. Le dernier effort d’Harrow est l’Ep The River (2015) sorti via Shadow of the Stone.

Fragments Of A Fallen Star donc a été un album fondateur pour le groupe. Il lui a permis de consolider sa réputation suite au premier album, de se créer une solide fan base et de pouvoir progresser. Fin 2016 Fragments Of A Fallen Star a été réédité en format cd digipack et digital via le labeal Hypnotic Dirge Records. Pour l’occasion il y a un livret 4 pages et un nouveau artwork intérieur réalisé par Jeremy Hannigan qui en effet s’est occupé de tout l’ensemble de l’artwork.

Harrow fait du black metal original et inspiré. Harrow évolue à la croisée de plusieurs sensibilités. D’abord au niveau thématique Fragments Of A Fallen Star est un voyage interstellaire, on parle d’espace, de temps, d’interconnexion entre êtres sans oublier les aspects les plus « metal » comme les forces de la nature ou la mythologie. Si ces thématiques peuvent faire penser à un groupe comme Midnight Odyssey, si on rajoute les thématiques et certains sons de Harrow on peut penser encore mieux à l’album de The Sword nommé Warp Riders (2011).

Musicalement Harrow s’enracine dans le black metal avec des tremolos pickings bien sentis, des blasts aussi et une voix bien perchée. Mais il y a une palette vraiment hétérogène puisque Harrow varie constamment les ambiances qui passent par des tempi lents avec des atmosphères soignées et caractérisées par une voix plus posée, des instruments acoustiques (guitare acoustique, bodhrán) qui flirtent avec un metal folk. Ce n’est pas du folk pur jus ou de l’atmosphérique pur jus. Ce serait trop simple. Harrow brouille encore les cartes en utilisant aussi des composants drones et doom qui ralentissent le tempo d’un côté mais de l’autre donnent une profondeur et un relief certain aux titres. On pourrait penser par moment à des sonorités à la Conan de Monnos (2012)

Du coup ce côté spatial est évoqué par les textes et surligné par les ambiances différentes qui vont de l’extrémité du black metal aux plans plus progressifs et par moment psychédéliques. Cette approche extrême est maîtrisée de bout en bout et fait de Fragments Of A Fallen Star un album assez original (et c’est la raison pour laquelle je le rapproche à des artistes pas black metal comme The Sword ou Conan) et fait aussi de Harrow un groupe à suivre.

La production est très bonne et on entend bien tous les instruments et surtout la basse. On n’est pas dans le cas des productions low-fi du black metal extrême ou dans des superproductions hollywoodiennes et plastiques. Harrow a trouvé un juste milieu pour retranscrire sa musque de façon fidèle et immédiate. On s’immerge dans cette musique et on se fait bercer par des sons puissants et qui viennent d’ailleurs puisque nous sommes tous des « Fragments Of A Fallen Star ».

Reviewed by: Cristiano Basso

Rating: 8.5/10

Review from Hallowed.se

Thu, 05 Jan 2017 19:46:19 +0100

From: Hallowed.se

Published: December 22, 2016

Original Link

Harrow again, it seems like the Canadian band is releasing a new album following last year’s pretty boring release Fallow Fields. It proved however that this album was released before that album, in 2013 on digital and cassette. Now Hypnotic Dirge Records releases it on CD, which is, jolly nice of them. It kind of looks interesting with a cool artwork and descriptions of blackened folk metal and those kinds of things. I do think sludge, doomish black metal and such things could also describe the sound of this album.

Like Fallow Fields that I reviewed last year it is sonic landscape painted in big brush strokes, most of the time in a really low tempo with some instances where it speeds up a little. Decent variation but built on a somewhat monotonous core with a very strong production; the sound is rather impressive as you can also say about the performances even though the growled vocals aren’t exactly great. With this album we get four tracks but still a playing time of near forty minutes, meaning that the tracks are nearly ten minutes on average.

And they are pretty good tracks, they offer interesting music with good feel to it. The growls could be better and I mostly like it when it really picks up the pace, which doesn’t happen too much. There are no standout tracks on the album and the best parts are parts of songs, most of the songs have great stuff in them. In the end though this album still doesn’t quite fly and though it works I doubt it will be interesting to a larger audience.

Fans of Harrow and the music of the mentioned similar bands will probably find this album very interesting. However, I doubt that it will bring them fame and glory. It feels like Harrow has a bit album in them, they just haven’t managed to find it yet but they are closer with this album than they were with Fallow Fields.

Rating: 4/7

Review from Dead Rheteric

Tue, 20 Dec 2016 18:52:34 +0100

From: Dead Rheteric

Published: November 2016

Original Link

When it comes to atmospheric/Cascadian black metal, Hypnotic Dirge is usually a good reference point for finding bands below the radar. The statement holds true for that of Harrow, whose 2013 release Fragments of a Fallen Star is getting the CD treatment for the first time. Stylistically fitting in with bands like Wolves in the Throne Room and Agalloch, Harrow blend together a naturalist, folky approach with more caustic black metal that’s recorded in a fittingly low-fi output. It doesn’t stray too far off the beaten path, but has a ritualistic sense that gives it more of an individual identity. We’ll see where the future takes them from here, considering Fragments is three years old. – Kyle McGinn

Review from Lachryma Christi Magazine

Tue, 22 Nov 2016 23:46:50 +0100

From: Lachryma Christi Magazine
Published: November 20, 2016
Original Link

Harrow just re-released their album Fragments of a Fall Star, previously released in 2013. This album came out first digitally and on tape, and now just came out as a CD. You may find the artwork below.

The album has four tracks, all of them with a high atmospheric touch to them.

First track, Fragments of a Fallen Star, has an intro with acoustic and sort of spiritual sounds, if that makes sense. Soon slowly starts transforming into something different with delicate and spooky voices, which introduce you to the guitar filled strong and passionate melodies of the rest of the track and the album. Voice is quite powerful and the whole thing together takes you to a great journey where music merges with feelings and emotions.

However heavy and fast and proper Black Metalish music, this album is full or surprises, as sometimes there are some quite dark doom passages as well and then again more introspective parts. Very satisfying to listen to and some bits stay in your ear for quite a long time, for the best reasons.

Is a very energetic and vibrating release that everyone should have the pleasure to listen to and to feel.

Review from Occult Black Metal Zine

Tue, 22 Nov 2016 23:46:57 +0100

From: Occult Black Metal Zine
Published: November 17, 2016
Original Link

Harrow are a band from Vancouver B.C, Canada that has been featured before in this zine and plays a cascadian style of black metal that is also very heavily influenced by folk music and this is a review of their 2013 album "Fragments Of A Fallen Star"which was re-issued by Hypnotic Dirge Records.

Atmospheric synths start off the album and they also give the music more of an ambient and psychedelic touch and after awhile guitar sounds are added onto the recording and when acoustic guitars are utilized they bring in elements of folk music and a decent amount of clean singing can also be heard at times.

All of the tracks are very long and epic in length and when guitar solos and leads are utilized they are done in a very melodic post rock style while also getting more aggressive at times and the heavy riffs also bring in a great amount of melody and the heavier vocals are mostly grim yet high pitched black metal screams and you can also hear all of the musical instruments that are present on the recording.

When the music speeds up a great amount of tremolo picking and blast beats can be heard which also gives the music more of a raw black metal feeling and the songs also bring in a decent mixture of slow, mid paced and fast parts and tribal beats can also be heard in certain sections of the recording while some tracks also mix in elements of drone and doom metal and they also mix the acoustic parts into the heavier sections of the songs as the album progresses and the last track is all instrumental.

Harrow played a style of black metal on this recording t hat was very atmospheric in the cascadian tradition while also mixing in a lot of folk music elements, the production sounds very professional while the lyrics cover nature, conflict and atavism themes.

In my opinion this was a very great sounding recording from harrow and if you are a fan of folk influenced cascadian black metal, you should check out this re-issue.

Rating: 8/10

Review from Don't Count on it Reviews

Thu, 13 Oct 2016 20:33:16 +0100

From: Don't Count on it Reviews

Published: November 23, 2013

Original Link

Being put into the whole "cascadian black metal" movement can be the sort of thing that has either brought bands great success or failure. While there are some who claim that this movement has provided black metal with some of it's most interesting groups since the 90s, other would say that it's a movement based off the success of a couple of good bands. So I found it somewhat interesting that bands are still being put into that movement since, as far as I knew, it had ended a while back.

There's what you could almost call an imbalance on this record in terms of how the record is laid out, with the opener being eighteen minutes long the the remaining three tracks totaling up to just over twenty. Not a problem, but it is interesting how the band decided to present themselves on here. It's a bold step opening an album with a lengthy piece like the title-track, and while bands from this particular movement have never really been ones to embrace the standard song formats, this is up there in terms of a bold opening statement. As far as what you can expect from this track, because of the movement with which I've seen this album associated with, and with good reason, you will be able to hear influences from other bands from that "scene" in this track (as well as the following three as well). I guess the main problem I have with that is just that it sounds more or less like what I've already heard from those bands, and obviously I don't have a problem with rehashing ideas if it's done well or interestingly enough, but it's just that it's introduction so much reminded me of the likes of Echtra and Skagos that it was almost off-putting. That's more or less the basis of the first half of this track. It moves from ambiance into an acoustic piece. The last half of the track is where I thought that the band really gained their own footing - when they went electric. I'm not going to pretend that once the band goes metal they suddenly become a revelation but to say that the track really picks up speed and momentum after that transition would be an understatement. Yes it's raw and gritty, but there's a real interesting use of atmospherics used throughout that was one of several things that kept me interested and engaged.

As the following three songs progress forward it becomes apparent that while I did come into this record slightly skeptical because of what these guys are attached to, they do have a sound that is a deviation from the standards. While there are hints of it used in the title-track, the blues influence in the band's playing really came out in the shorter tracks. While there's plenty of straightforward tremolo riffing and whatnot used throughout the album, it was those bluesy moments that I think really made this stand out to me. The idea of combining blues with black metal is one that, as I've said various times before, is one that seems to be getting more popular as time goes forward but the bands that pull it off well will continue to have favor (at least with me) because of how they do it. While the use of the banjo on the intro of closer If The Sky Falls, We Shall Catch Larks certainly does bring to mind the most recent work of Austin Lunn's project Panopticon, I wouldn't go so far as to call it a rip-off or a parody of that.

I think it's pretty obvious at this point that I do favor this record to many others that have been attached to this "scene" in recent years and hope that people check it out because of how well it's done. There's real talent on here in many places and though it certainly isn't perfect by any means it's for a debut full-length it's pretty damn good. Definitely give this one a shot if you're a fan of more forward thinking - but ultimately still very raw, black metal.

Rating: 8/10

Reviewed by: maskofgojira

Review + Album Stream from Cult Nation

Thu, 13 Oct 2016 20:32:24 +0100

From: Cult Nation

Published: October 8, 2013

Original Link

*Note: Old review from the original self-release of this album

Droning synths, ambient field recordings, and sculpted feedback usher in Fragments Of A Fallen Star, the phenomenal second album from the as-yet criminally unknown Harrow, and they are indicative of what’s to come. This two-man black metal project from Victoria, British Columbia, draw from a much wider than usual sonic palette and a will to push beyond traditional genre confines. Pummelling blast beats, tremolo picked fury and piercing shrieks share just as much space as gentle acoustic finger-picking, somber crooning, and ambient drone. Multi-chapter song suites work their way from pagan folk through first-wave Scandinavian black metal to instrumental passages of pure psychedelia and prog-ish exploration, with elements surfacing as diverse as banjo, bodhrán, and most interestingly, samples from NASA’s Voyager probe over the moon Io.

Fragments Of A Fallen Star is the aural equivalent of a DMT trip, rocketing from the moons of Jupiter through a dimensional portal to frosty northern forests, pagan rituals and medieval battlegrounds. Exemplary of music and lyrics in perfect alignment, Harrow’s genre-hopping sound scores an interstellar opera that subversively combines black metal’s traditional preoccupation with the mythic and fantastic with less common scientific and cosmic imagery. The usual suspects – serpents, swords and sorcery – people a heroic tale that also references DNA, space, and inter-dimensional travel while contemplating Carl Sagan-esque notions of cosmic unity and the single source origin of matter.

Harrow’s entire aesthetic harkens back to the best elements of 1970s’ rock experimentalism, combining the ambition, ability and adventurousness of Zeppelin, Floyd and Yes, with enough black metal violence and energy to keep the whole thing grounded. Just as their lyrics explore the concept of cosmic unity and the inter-connectedness of subjects as diverse as myth and science, Harrow’s music bridges the gaps between genres, between experimentalism and tradition, and between cerebral exploration and balls out, primal fury.

We are fragments of a fallen star. We are all of us star stuff.

Reviewed by: Daniel Vanderberg