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Týr - A Night At The Nordic House (with the Symphony Orchestra of the Faroe Islands) Award winner

A Night At The Nordic House (with the Symphony Orchestra of the Faroe Islands)
by Craig Rider at 26 February 2022, 7:53 AM

Metal maniacs, rejoice! I am proud to present to you: TYR; signed via Metal Blade Records, hailing from the Faroe Islands - performing Progressive/Folk Metal, on their debut Live Album entitled: “A Night At The Nordic House (with the Symphony Orchestra of the Faroe Islands)” (released March 18th, 2022). Since formation in 1998; the quartet in question have 1 Demo, 1 Split and 8 Full-length albums in their discography so far. I’m introduced to their Live debut Album entitled: “A Night At The Nordic House (with the Symphony Orchestra of the Faroe Islands)”, 18 tracks ranging at around 01:26:29 - TYR arrange an intricately designed formula of some heavy-hitting Progressive/Folk Metal amalgamations.

Opening up with this orchestrated symphony; a hymn of majestic proportions starts off the record with “Hel’s Prelude”. A glorified harmony belts a clobbering bang of synthetic victory, as catchy drums marches toward the “Gates Of Hel”. An acoustic strum swerves stridently with the choir-like thuds, rampantly rompy sturdiness & riveting melody that thunders with trailblazing remedy. This experimental hybrid captures a chiseling foundation in choppy hooks amongst a concretely gritty laceration on slaying punchiness, jumpy bounciness and boisterously flamboyant chorales that merge with the striking pursuits of progressively technical stability that synergies with wildly rushing mobility amongst a blistering contortion in distorted frenzies - barraging eardrums with monolithic yet volatile sublimity. This tranquil splendor towers with mountainous nobility, rich pride & prestigious honor, distinctively.

Grindavísan” surges with SABATON-fueled aesthetics, where Power Metal traits chants eloquently with vibrant potency from consisting vocalist Heri Joensen. The chords distill a high-pitched virtuosity while quintessential throatiness rasps out shouty yells with grunty gutturals, growling bellows and upbeat mellow - showcasing meticulous variety from all creative talents. Potential dynamics crafts a distinguished element in implementing dexterously mighty songwriting musicianship as “Sunset Shore” chimes with sulfurous yet zestful tonality. Where thumpy stompiness from audible bassist Gunnar Thomsen (also on backing vocals) flickers a tremoring tenor of rumbling reverb, trembling weighty & piledriving rips. While rambunctious drum hammerings from battering rammer Tadeusz Rieckmann pounds the set with steely precision, while pummeling speakers with impactfully flexible fundamentals in radically wicked furore.

Ragnars Kvæði” injects an infectiously venomous march of vivacious solemnity, where profusely robust yet salubrious substance organically manifests with triumphant bombast as chunky beats and melodious Viking bestiality briskly unearths this spellbinding ritual of meaty vehemence & versatile utilisation of remedious musicality - while “Gavotte from Suite in G Minor by J.S.Bach” covers an epic suite of J.S.Bath’s staple but classic momentum. While “Blood Of Heroes” marches toward Valhalla territory, stampeding with mythical battle cries and death entrenched maelstrom tactics. Hans Hammer on the persistent perseverance of rapidly swift guitar expertise that steamrolls with this sonically seamless repertoire of beefy licks, where nimble wizardry relentlessly forges a hypnotic flair of outre panache & primitively raw proficiency to boot - an epically memorable track.

A miraculous merger of NIGHTWISH semblance symbiotically fabricates an immersively inventive sensation within “Ramund Hin Unge”, where wondrously pounding sovereignty enchants a borderline transparency on empowering efficaciousness. Harboring a frenetic calamity on royal solemnity, as an eminence in illustrious frenzies demonstrates a prodigious rift on embodying exciting instrumental equalities on top of snappy yet razor-sharp finesse. “Hold the Heathen Hammer High” is a high-intense crowd-pleaser, one of those songs that gets blood pumping with lofty but ambitious ethereality. As a celestial might shovels with other-worldly divinity, as dainty but holy and empyrean superlunary marvels with virulent elegance among an exquisite hymn within “The Lay of ThrymTYR make good use of the orchestral pomp here. An enticing slab of solid rhythms exalt an intriguing amount of motoring swerve & eclatful elan, while the clan of exuberant verve supplies this righteous vitality on dazzling instrumental diligence.

Tróndur í Gøtu” authenticates an aesthetic on strong tremolo pickings, while those heady cymbals bashfully bangs an energetic ebullience on buoyancy and adventurous agility. Nothing short of grandiose grandeurs in herculean legends are profound within this live spectacle of this fable-like saga, that tells the story of arduous but extraordinary heroism and euphonic but mesmerizing jubilation. More exhilarating conquests within the appealing bewitchment of “Mare of My Night” overarches with more tunefully engaging anthems while rollicking gallops frolic with marvelous spirituality, materializing an avant-garde furocity into a chimerical chemistry of all things classical and heavy into one neat package. “Turið Torkilsdóttir” subjugates this nordic folklore on more mythological tales with an adapted outcry on uproarious war dances and thrilling technicalities that soar with maximum flourishments.

Fire And Flame” conjures up more of that memorably captivating enthusiasm to make a contrasting visionary on those colossal clashes that the Viking warlords faced for all eternity, another crowd-pleasing stable that evolves immensely with the monarching blitzkrieg amongst a chanty opera house for good measure that reinvigorates souls with vigorous rigor. “Torkils Døtur” is a short interlude as a solo performance enquires another passionate verse of operatic embrace, a sanguine yet serene posture that’s most welcoming. Until “Ormurin Langi” brings back full force dominion with olympian mettle, the chorus’ delight with revving systematics where methodical abundances in transfixing supremacy outlines with striving variancy, bulldozing divergence and upbeat nuances dialects a straying velocity which banishes an impeccably exciting extravaganza which I personally wish I witnessed which feels like a once in a lifetime presentation.

The penultimate track “By The Sword In My Hand” upholds with significant portrayal for immersive crowd participation while the overall concluding banger “Álvur Kongur” finishes the recording with another epic canticle, almost 10 minutes long which ends fashionably with vivacious harrowing from everyone involved. The bottom line; I am compelled to say that “A Night At The Nordic House (with the Symphony Orchestra of the Faroe Islands)” served with enjoyably exciting experiences of Progressive/Folk/Power Metal delights in which ponders with lavishing discoveries in prompt subtleties of these sub-genres in place, brilliantly. TYR most surely outdone themselves with this one, and I certainly will think about seeing them one day. Also checking out their discovery in the meantime, what an escapade and worthy of listening to should you fancy a fix of these genres in one fell swoop - do check it out… it’s a stunning masterpiece that begs a listen.

Songwriting: 9
Musicianship: 9
Memorability: 9
Production: 9

4 Star Rating

1. Hel’s Prelude
2. Gates of Hel
3. Grindavísan
4. Sunset Shore
5. Ragnars Kvæði
6. Gavotte from Suite in G Minor by J.S.Bach
7. Blood of Heroes
8. Ramund Hin Unge
9. Hold the Heathen Hammer High
10. The Lay of Thrym
11. Tróndur í Gøtu
12. Mare of My Night
13. Turið Torkilsdóttir
14. Fire and Flame
15. Torkils Døtur
16. Ormurin Langi
17. By the Sword in My Hand
18. Álvur Kongur
Gunnar Thomsen - Bass/Vocals
Heri Joensen - Vocals
Tadeusz Rieckmann - Drums
Hans Hammer - Guitars
Record Label: Metal Blade Records


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