As a label, Candlelight seem to have a knack of signing bands off the back of a demo before they do anything else. Ear to the ground I guess. Not being privy to their success rate I can’t comment on their judgement other than by saying that with Scottish horde Cnoc An Tursa they have picked out a bit of a pagan/folk metal gem as after seemingly only one demo and playing with the likes of Wodensthrone and Winterfylleth what we have is a highly accomplished bit of metal. Given a fine production polish by Chris Fielding this slots very nicely into the same vague area as those two aforementioned groups and shares the same grasp of folk tinged melody as Irish guys Eternal Helcarax, too.
After the brief introduction of The Piper O’ Dundee, we are swept into the melodic howl of The Lion Of Scotland; raw screamed vocals, dancing folk melody atop a wall of black/pagan metal riffing. Without lyrics, I can only guess what they are on about (Hint: Record companies if your press release harks on the bands lyrical approach then it would seem sensible to include a few examples, hmm?) but you ain’t ever going to doubt they mean it. Glorious ‘get your beer in and dance and scream along stuff’. Follow up Bannockburn is equally fine but with a suitably melancholy undercurrent (go to your proper history books people). Hail Land Of My Fathers has, amidst the guitars-as-bagpipes, the teensiest bit of a death metal roll and is still yet another great catchy song. The odd nod in the direction of that Amon Amarth way of putting a riff together flavours things but somehow Cnoc An Tursa stay more on the black side to keep the flow.
It is all breakneck stuff as we hit Ettrick Forest In November, which is about the biggest criticism I have here, but the The Spellbound Knight slows things a little and ladles on a little more keyboard melody. Perversely it isn’t my favourite moment of the album, sailing a touch closer to the Gothic mellodrama than is my taste. Not that they suddenly go all floppy lace cuffs or anything, but unlike the following song In Shadowland I find the teeth pulled just a little and with music as melodic as The Giants Of Auld that is a dangerous pond to skate.
Winter-A Dirge, the next track, is far from it: A deep, even flow with a rumbling storm just beneath the surface that is nicely expansive. Once more it draws me in, makes me wish I had the lyrics before me, and like every other song here it doesn’t overstay. Culloden Moor, another subject to draw you to unvarnished history books, is a suitably moody piece and the closing chapter Blar Na H-Eaglaise Brice is melancholy pipe and keyboard lament to usher you back into the world.
The Giants Of Auld is underpinned by a galloping sense of energy and real, heartfelt spirit. Cnoc An Tursa have a highly melodic but driving sound and this debut should be on the new year shopping list of any fan of pagan or folk metal. If they can keep the balance they mostly have here of melody and grit, such as on standout song Bannockburn, then they have a great deal to offer as well as, off course, the rich heritage to sing of. There is a touch of Amorphis in their approach, though less obviously commercial, but still that connection to a harder sounds amidst the melody which is good. Full blooded, heady and full of life, it’s a fine beginning lads. Makes my (small but important) Scottish ancestry stir quite nicely…
(7.5/10 Gizmo)
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