If you are the sort of person that likes going out with a metal detector and looking for ancient treasure you may have unearthed the musical equivalent from historic Northumbria in the form of Arð, a project from native custodian and PHD philosophy major Mark Deeks. Moving from exploring Lindisfarne saint, Cuthbert (634–687) on debut album ‘Take Up My Bones’, the musician settles in the same time period to recount the exploits of “warrior king Oswald (604–642), who forged Northumbria with fire and sword by uniting the kingdoms of Bernicia and Deira.” Arð have gained interest from a wide variety of sources including mainstream press for shows such as The Organic Doom Fest which saw them playing with real organ accompaniment in Huddersfield. Indeed, as I write this it is noted that just last night there was a performance of Arð alongside singer Aaron Stainthorpe of My Dying Bride at an intimate show in the heart of their Northern enclave. Arð also have no shortage of like-minded collaborators on both disc and live where members of his former band Winterfylleth alongside players from Wolcensmen, Atavist and Pantheist are very likely to be found.
As far as this all translates musically outside the historical context, doom is very much the base compound at the heart of the project. It is solemn and to a certain extent reverential as songs flow in a sombre and reflective fashion, slowly and gracefully drawing the listener in. Melodies are very focused and atmosphere is at the forefront on songs like opener ‘Cursed To Nothing But Patience.’ Ponderous and weighty as far as drumming is concerned one should expect also the sort of weeping guitar tones that put the UK’s so called unholy trinity on the map along with fragrant clean vocals, backing chants and even cello and piano keyboards on the more delicate parts. The self-described ‘monastic doom’ descriptor is pretty much spot on and listening to this in your living room will transport you to a stage in a Northumbrian abbey. Without the background info it may also take you elsewhere. The organ sound and choral vocals on ‘Name Bestowed’ has a bit of that staple ‘Jerusalem’ vibe going on but rather than placing you in private school in the green and pleasant upper class Middle England its origins are much more steeped on olden roots. It is probably just my head that seemingly gets thrust into that Anarchic delights of Lindsay Anderson’s ‘If’ whilst listening to it.
On the whole this is a very mellow and relaxing album to bestow upon yourself. There are moments of weight and heft but songs such as ‘Hefenfelth’, despite being based on a battle is more likely to leave you feeling caressed and incredibly chilled-out. It’s certainly an album to listen to in solitude and on your own terms when no outside influences are likely to intrude. Pervading gloomy textures there is something beautiful about the tones and repetitive guitar lines sprawling luxuriously over ‘He Saw None Winters’ and it will chill your very bones whilst also warming via the fragrance of the vocals. As for the shorter ‘Beset By Weapons’ including Northumbrian pipes, it’s one of the most heartfelt laments you are likely to hear before epic concluding piece ‘Casket Of Dust’ provides a stately funeral on proceedings.
Alongside this year’s earlier ‘Kings Must Die’ album by the aforementioned Pantheïst, which also included live tracks from Organic Doom Fest this strikes as a special and timeless album, guaranteed to enrich and charm lovers of doom and historical destiny in equal measures. A deluxe version with live tracks is also available
(8/10 Pete Woods)
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