Reviews: SAT294
< Обратно к релизу / Back to page
Working alone (or mostly so), Sina began writing and recording black metal in Iran many years ago under the name From the Vastland, indulging his love of old school Scandinavian black metal in a place where the performance of such music was banned by the government. From the beginning, he has made the culture of his homeland a part of his creations, writing lyrical themes that draw upon ancient Persian mythology and history — epic tales of battles between darkness and light, good and evil, gods and devils — and weaving touches of Persian melody into the fabric of his songs.
Life for Sina took an unexpected turn when he was contacted by the Norwegian producer of the black metal documentary Blackhearts (eventually released in 2017) and became a part of that film, which in turn led to the opportunity in 2013 to perform at the Inferno Festival in Oslo. There he was joined for the performance by a backing band that included such luminaries as bassist Tjalve (Horizon Ablaze, Svartelder, ex-1349, ex-Den Saakaldte) guitarist Destructhor (Nordjevel, Myrkskog, ex-Morbid Angel), and drummer Vyl (Whoredome Rife, ex-Keep of Kalessin, Gorgoroth). And that in turn led to the opportunity for Sina to move to Norway, which he did in 2014.
From his new home in the cradle of black metal, Sina has continued to record and to perform at both Norwegian events and international festivals. His newest album, The Hath Khan, will be jointly released on April 30 by Satanath Records and Iron, Blood And Death Corporation — and today we present a lyric video for the new album’s opening track, “Khan e Aval“.
The Haft Khan is a concept album based on one of the stories from Shahnameh (The Book of Kings), a great epic masterpiece poem, and the most notable piece of Persian literature, which was written by the Persian poet Ferdowsi between c. 977 and 1010 CE.
The Haft Khan narrates seven difficult challenges confronted by Rostam, the greatest of the Persian heroes, as he and his legendary horse Rakhsh journey toward the land of Mazandaran — the land of all demons — to save and free the king (Kei Kavus) and his army, who have been captured and blinded by the spell of the White Demon. The tale culminates in a final battle between Rostam and the White Demon, with the fate of the king and his army hanging in the balance.
The song we’re premiering today, as the one that launches the album, thus begins the epic story as it is narrated through the lyrics and the music of The Haft Khan. The lyrics of this track quickly set the stage, recounting the White Demon’s blinding and capture of the king and his army, imprisoning them in Mazandaran. We are also introduced to the hero Rostam and his horse Rakhsh, who together ride like the wind toward Mazandaran in an effort to free the king.
As night falls in a forest, Rostam faces his first test. After lying down to get some sleep, with his sword close by, Rostam is awakened when a fierce lion attacks Rakhsh, who quickly puts an end to the assailant. Rostam tends to his wounded horse and then remounts at sunrise to continue the journey toward the White Demon and his legion of demons.
On the new album Sina is again joined by Tjalve on bass, and by the drummer Spektre (Gaahls Wyrd, Svartelder, Horizon Ablaze), both of whom make vital contributions to the music. Musically, “Khan e Aval” is an electrifying experience. With only a single diversion that coincides with the narration of what happens to the hero and his horse during the night in the forest, the song is a ferocious conflagration of sound, a breathtaking combination of wild, incendiary riffing, frantic bass notes, blistering drumwork, and scalding, serrated-edge snarls. The feverish whirling riffs burn with searing emotional intensity but also have an “epic” quality, a feeling of heroic grandeur that’s in line with the nature of the narrative, and the drumming is riveting throughout the song.
The one digression comes at the center of the song, as night falls in the narrative. The pacing slows, the bass rises in prominence, the voice drops to a low growl, and a mysterious arpeggio conjures both moonlight and menace. The song’s finale is a momentous symphonic piece that’s clearly leading us into the album’s second chapter, and thus ends abruptly — and surely will leave listeners eager to experience what happens next.
https://www.nocleansinging.com/2020/04/12/an-ncs-video-premiere-from-the-vastland-khan-e-aval/
Shame on me for not having any idea that this band existed up until now! Upon discovering that it was spearheaded by a fellow Iranian named Sina who has since relocated to Norway and teamed up with Tjalve of prior 1349 fame on bass and Kevin Kvåle from Gaahls Wyrd going by "Spektre" (both are also from Horizon Ablaze), I said to myself that I had to give this band a fair shake, and also stayed complete unbiased with the cultural connection. Although I am a human being so having a little bias is only natural, but for the sake of being professional, I decided to keep it squashed.
"The Haft Khan" translates to "The Seven Khans", a title of the utmost high nobility, and in The West Genghis Khan is the most well-known reference point for this sublime moniker. The songs titles play out indeed from one to seven, each one a trial and tribulation for the mythical hero Rostam, who is a creation of the mind of the legendary poet Ferdowsi and His "Shahnameh (Book of Kings)", Iran's national poem and an archive of Persian native vocabulary which had sadly been subdued by centuries of Arab occupation and conversion of the national religion from Zoroastrianism to Islam. Sina has told the tale of Rostam through lengthy yet captivating tracks of very melodic black metal and even some Middle Eastern and Southwest Asian style riffing comes into play, adding to the mythical and folkloric ambiance of what is exhibit here. Everything screams of black metal orthodoxy and even a good bit of heavy metal feelings are interlaced throughout the record, indicating to us that Sina means serious business about both his heritage and his music. And the lengthy tracks only do his agenda right, pushing the legend of Rostam and what pain and strife he must endure to even greater heights. This is black metal, this is Ancient Iran, and this is they glory of a culture that has been around since time immemorial meshing with a music style that will surely be with us faithful for all eternity!
Sina did a fantastic job capturing the spirit of The Shahnameh and the essence and soul of ancient Iranian culture. Commissioning a pair of Norway's finest to assist it the storytelling was also a most wise maneuver, for they have added great to the atmosphere and overall presentation of the package with and assured certainly that adheres to Sina's vision, I have no doubt. Now all I want to do is explore further into From The Vastland's discography, and trust me, I am about to indulge in all of the rest of the arsenal right now!
https://viaomega.com/articles/from-the-vastland-review
Iranian-Norwegian black metallers From The Vastland have unleashed a brand new track from their forthcoming album, The Haft Khan. The song, entitled "Khan e Sheshom", is one of the finest examples of a contemporary black metal band showing honor and reverence to the very best of the second wave of Norwegian black metal.
Not since Whoredom Rife's Nid – Hymner Av Hat has a Norwegian band captured the most vital and fundemental elements that form to create the blackened art of black metal proper.
Now based in Oslo, From The Vastland features Iranian-born songwriter/vocalist/guitarist, Sina Winter. Joining Sina are two of Norway's finest in Tjalve (ex-1349/Den Saakaldte – bass), and Spektre (Gaahl's WYRD – drums). Through their combined efforts, The Haft Khan hits every nerve throughout its seven tracks – much in the same way early Satyricon, Emperor, and Gorgoroth could effortlessly erect the hairs on the back of one's neck.
The Haft Khan is a concept album based on one of the stories from the great epic masterpiece poem, Shahnameh (The Book Of Kings – one of the world's oldest epic poems). This writing was penned by the Persian poet Ferdowsi (between c. 977 and 1010 CE). The story of The Haft Khan is chock full of metaphors and symbols that represent some of the most important characters, legends and myths in ancient Persian mythology and history.
The Haft Khan drops on April 30th via Satanath Records, and features the stunningly-dark artwork of Kjell Åge Meland. Mixing and mastering of the album was handled by Marius Strand (Svartjern, Borknagar, Abyssic, etc).
To the surprise of no one, From the Vastland continues to provide the world with top-notch black metal. Sina, originally from Iran and now residing in Norway, is a modern master of riffs, and knows how to perfectly recapture that second-wave glory while still retaining his own sound.
https://www.decibelmagazine.com/2020/06/05/five-for-friday-june-5-2020/
Mit ihrem sechsten Album THE HAFT KHAN legt die iranisch – norwegische Black Metal Band FROM THE VASTLAND ein Konzeptabum vor, das sich mit einem großen Stück persischer Literatur beschäftigt, “Shahnameh (The Book of Kings – One of the world’s longest epic poems)”. Somit verwundert es auch nicht, dass sich im doch meist relativ Old School klingenden Sound ein paar orientalische Verweise wiederfinden.
Mit ihrem 2018er Album “Daevayasna” konnten mich die Black Metaller wie aus dem Nichts überraschen, sind sie aber in Norwegen ein recht bekannter und erfolgreicher Act. Unter anderem wurden sie 2014 für den Metal Hammer Golden Gods Award nominiert.
Für den iransichen Bandkopf Sina ist das neue Werk schon etwas besonderes und spezielles, erzählt das Album doch die Geschichte des größten persischen Helden “Rostam” und beschreibt in den sieben Songs die sieben schweren Aufgaben die der Protagonist auf dem Weg zur Befreiung des Königs “Kei Kavuis” bestreiten musste.
Das hört sich erst mal recht wenig nach Black Metal an, doch klingen FROM THE VASTLAND auch hier nach wie vor, so wie guter, alter, norwegischer Black Metal zu klingen hat. Doch andererseits kommt beim Hören aber nie wirklich die “orientalische” Stimmung auf, die auf die eigentliche Geschichte schließen lassen würde. Die wenigen, eingangs erwähnten Verweise sind dann doch zu spärlich.
Nimmt man das mal aus dem Fokus, bieten FROM THE VASTLAND nichts desto Trotz sauberen, mehr als anständigen Black Metal, der seinen großen Vorbildern selten nachsteht. Als Highlight bietet sich neben der Schlussnummer Khan e Haftom vor allem Khan e Chaharom an. Nach einem geheimnisvollen und spannenden Intro legt das Trio ganz im Stile von ‘Dissection’ los wie die Feuerwehr. Tempowechsel, geniale Riffs und abwechslungsreicher Gesang prägen das Stück. Für mich mit Abstand die stärkste Nummer auf der Platte.
Auch der Rest kann sich hören lassen. Immer wieder blitzen starke (wenn auch hier und da vielleicht bekannte oder wiederholende) Riffs auf, der Beginn von Khan e Sheshom ist ein wahrer Leckerbissen für Freunde des nordisch-eisigen Black Metals. FROM THE VASTLAND verstehen es aber auch durch geschickte Tempounterbrechungen die Spannung stets aufrecht zu halten.
Ich kenne die Geschichte nicht, um die es sich laut eigenen Aussagen auf THE HAFT KHAN dreht. Um so schwerer fällt es mir, mich in die persische Geschichte hineinzuversetzen. Würde es sich um einen nordischen Gott oder Helden drehen, klänge die Nummer um einiges authentischer. So bleibt doch ein kleinen Fragezeichen. An der musikalischen Darbietung an sich habe ich aber wenig auszusetzen.
https://www.hellfire-magazin.de/from-the-vastland-the-haft-khan/
Questi ultimi tempi, che noi tutti sappiamo essere stati difficili, hanno avuto dei tenui risvolti positivi. Innanzitutto, chi era subissato di lavoro, ha forse potuto prendersi una pausa e ascoltare molta più musica del solito, in una monotona quotidianità dal retrogusto amaro. Ma un risvolto negativo di questo risvolto positivo è stato l’accorgersi della banalità imperante che serpeggia tra le release, una banalità che va spesso a braccetto con le formule ripetitive diventate ormai degli standard per alcuni generi e sottogeneri. Ci sono però delle eccezioni, delle band che producono album fedeli alla linea, studiati e curati, band che un tempo avremmo definito “da acquistare a scatola chiusa”. Per il sottoscritto, i From The Vastland sono una di queste.
Sono passati soltanto due anni dall’ultimo ‘Daevayasna’ e quel disco, se non ci fossero i file digitali, ormai sarebbe massacrato, una costellazione di graffi e strisci degni dell’action painting pollockiano. E adesso, in questo funesto 2020, la band iraniana di nascita ma norvegese d’adozione si ripresenta con ‘The Haft Khan’. Sapete, la cosa più bella degli album dei From The Vastland è andare a leggersi le informazioni che accompagnano il pacchetto promozionale. Parliamoci chiaro, di solito questi foglietti illustrativi dei dischi valgono poco più dei bugiardini dei medicinali, non interessano pressoché a nessuno e quando li apri cominci a fare gli scongiuri perché dentro ci siano se non altro la line-up e la tracklist scritte correttamente. Sì, perché di solito è tutta una solfa di “il più grande album della band”, “qualcosa di rivoluzionario”, “da dopo questo disco il metal non sarà più lo stesso”, e via dicendo. Banalità e formule ripetitive, si diceva poc’anzi.
Invece, coi From The Vastland, si va sempre al sodo. Si scopre che stavolta Sina Winter, fondatore e mente del gruppo, ha voluto lanciarsi in un concept album, prendendo in prestito una delle storie dal Shāh-Nāmeh, antichissima opera poetica di Firdusi ed epica dei paesi di lingua persiana. ‘The Haft Khan’ narra infatti delle sette fatiche di Rostam, il coraggioso tra i coraggiosi, in sella allo stallone Rakhsh vaga nelle lande di Mazandaran per salvare il sovrano Kay Kāvus e il suo esercito, catturati e accecati da un sortilegio del Demone Bianco. Sette, un numero che a noi occidentali riporta alla mente le fatiche di Ercole. Sette, come le tracce presenti sul disco.
Insomma, ci troviamo di fronte a una storia che, come sempre, è tutto tranne che scontata. Il marchio di fabbrica dei From The Vastland. Una solidità di contenuto che va a integrarsi con la consueta corposità e decisione sonora, che non si discosta un millimetro dal sound che la band ha mostrato sin dallo stupendo esordio di ‘Darkness vs. Light, The Perpetual Battle’, risalente ormai al 2011. Lo stesso ‘The Haft Khan’ si presenta come un affresco di un paesaggio rovente dipinto con un pennello di ghiaccio. Il calore delle leggende nei testi in contrasto all’algida possanza della musica. Il torrido cuore persiano contenuto nello scrigno di ghiaccio del metallo nero norvegese. E così, affrontiamo le fatiche assieme a Rostam, cullati dalla furia del cantato e dei riff di Sina, coadiuvato dalla sezione ritmica composta ancora da Tjalve (basso, ex-1349) e Spektre (batteria, fresco vincitore dello Spellemann con i Gaahls Wyrd). Un racconto che vorremmo non finisse mai, per rimanere ad assistere alle oniriche imprese di ‘The Haft Khan’.
http://www.metalhammer.it/recensioni/2020/06/04/from-the-vastland-the-haft-khan/
From the Vastland is a one man Iranian/Norwegian black metal band and this is his sixth album.
We’re familiar with From the Vastland’s work – both 2016’s Chamrosh and 2018’s Daevayasna were enjoyable examples of classic blackened fury. The Haft Khan provides us with another seven songs in a similar vein; 46 minutes of new material to enjoy.
And enjoy we do.
I find From the Vastland’s work effortlessly enjoyable, and always look forward to some new material from this reliable act, (once again rounded out by members of bands such as Horizon Ablaze and Gaahl’s Wyrd).
The songs are easy to absorb if you’re a fan of the style. Influenced by the second wave, yet featuring enough modern elements to keep itself relevant, this is a collection of tracks that spit venom and breathe fire. The release is a concept album, and Persian influences are used well across the running time.
Based on an underpinning framework of fiery speed and engaging melodies, the songs are well-written and combine aggression and atmosphere well. When the music slows down the quality levels don’t, with spiky riffs leading the way like barbed harbingers of destruction. Occasional lighter or more atmospheric sections add texture, and overall the album flows very nicely.
The vocals sound exactly as you’d want them to, viciously tearing out of the music with high screams and deeper roars. The singer sounds better than ever.
There’s nothing here not to like as far as I’m concerned. In fact, I’d probably go as far as to say that this is better than the previous two releases, (which themselves were no slackers in the quality department). Another strong, (strongest?), album from an underrated band. Make sure you check out The Haft Khan.
https://wonderboxmetal.com/2020/05/22/from-the-vastland-the-haft-khan-review/
Με Ιρανικό διαβατήριο, το Νορβηγικό σχήμα των From The Vastland κυκλοφορεί φέτος την έκτη του κυκλοφορία. Με ενεργό δράση στη σύγχρονη σκηνή της Σκανδιναβίας και με βοηθητικά μέλη από τους Gaahl's Wyrd και τους Horizon Ablaze, η μπάντα του Sina, έπειτα από μόλις ενάμιση χρόνο φέρνει το "The Haft Khan".
To εναρκτήριο "Khan E Aval" καταφέρνει με τους ψυχρούς του ήχους να δώσει και κάτι πιο μυστηριακό, σε ένα σχετικά παλιομοδίτικο ηχητικό μοτίβο που θυμίζει τους πρώιμους DHG. Τα καταιγιστικά του riffs ποικίλουν ενώ δε λείπουν και μερικά πιο heavy περάσματα, δίνοντας έτσι πάσα στο "Khan E Dovom" με το βαρύ και ωμό του ύφος που σπάει λίγο στη μέση με μερικά ατμοσφαιρικά περάσματα που σπάνε τη μονοτονία.
Το "Khan E Sevom" μέσα στους σφυροκοπημένους του ρυθμούς δίνει και μερικά groove-ατα στοιχεία για να ζεστάνει το κλίμα, τιμώντας την Περσική Κουλτούρα, αν και το "Khan E Chacharom" δίνοντας περισσότερη έμφαση κάνει με τους ήχους και τις εικόνες του πιο πολεμικό το όλο σκηνικό. Στο "Khan E Panjom" τα πράγματα δε δίνουν κάποια νέα τροπή, αλλά ακολουθεί πιστά την μοχθηρή και διαολεμένη πεπατημένη του δεύτερου κύματος του μαυρομεταλλικού ήχου με πατημένα τα γκάζια γεμάτα δυσαρμονίες.
Χωρίς δραστικές αλλαγές αλλά με ανατολίτικες φόρμες σε αυτό το ταυτόσημο με τη Νορβηγία ήχο, το "Khan E Sheshom", λίγο πριν το τέλος κάνει αμείωτο το ενδιαφέρον, αφού αυτά τα ιδιαίτερα ethnic στοιχεία πλάι σε μερικές ακουστικές κιθάρες δημιουργούν κάτι μοναδικό και σχεδόν ασυνήθιστο με το κλασικό black metal κάνοντας και το ίδιο το σύνολο πιο ποικίλο. Τέλος, το "Khan E Haftom" κλείνει το άλμπουμ με συρτά riffs και βασανισιτκές διαθέσεις, σε ένα μυστηριακό περίβλημα γεμάτο ψυχοτρόπες κλιμακώσεις και ατμοσφαιρικές πινελιές που σε ζαλίζουν.
Χαίρομαι που ξαναβλέπω τους From The Vastland να δίνουν στοιχεία από την παράδοση του ιθύνοντος νου τους, μπλέκοντας με όμορφο και ιδιαίτερα αριστοτεχνικό τρόπο την Περσική παράδοση με τα μοτίβα του ντεμπούτου τους και το παγωμένο μουσικό ύφος της Σκανδιναβίας. Αν με λίγα λόγια μπορούσε γενικευμένα να χαρακτηριστεί ο ήχος του εν λόγω δίσκου, θα ήταν ένα μπλέξιμο των Darkthrone με τους Melechesh. Κλείνοντας, όλα όσα συμβαίνουν στο "The Haft Khan" δείχνουν πως μιλάμε για την πιο ώριμη δουλειά της μπάντας, αφού κάνει το black metal να "χαμαιλεοντίζει'' πίσω από διάφορα πράγματα χωρίς να αντιγράφει κάτι.
https://metal-view.blogspot.com/2020/05/from-vastland-haft-khan-album-review.html
Screen.
https://www.dargedik.com/2020/06/from-vastland-haft-khan-2020-resena.html
Shāhnāmé de Ferdousí es la gran obra de la poesía persa, en ésta, el poeta Ferdousí relata la historia de Irán y sus religiones antiguas “zoroastrismo”, y éste escrito es precisamente la inspiración del álbum The Haft Khan (2020); no es de extrañar que la banda From The Vastland enfoque sus baterías hacia este poema; ya que su líder y fundador Sina es iraní.
From The Vastland ya nos había enviado un mensaje claro en sus álbumes Darkness vs. Light, the Perpetual Battle (2011) y Kamarikan (2013), con letras enfocadas a recordar la cultura persa, la mitología y la raíz religiosa más antigua del Persia; el zoroastrismo. Sina en esta ocasión se rodea de músicos reconocidos de la escena del metal noruego, Tjalve (Horizon Ablaze, Pantheon I, entre otras) ataca el bajo, Tjalve acompaña a Sina como músico de sesión desde el álbum Temple of Daevas (2014), Kevin Kvåle (como ”Spekte” en Gaahls Wyrd, Harm, Horizon Ablaze) en la batería, está con From The Vastland desde el álbum Chamrosh (2016).
Sina en este 2020 termina de consagrar a From The Vastland con su sexto álbum The Haft Khan, editado el 30 de abril por Satanath Records. Es un álbum pletórico, rico en sonidos old school con pinceladas orientales, rodeando de las ya épicas historias del Shāhnāmé.
The Haft Khan nos adentra en un viaje sonoro con el track No. 1 ”Khan e Aval”, ¡por el mismo Zoroastro, que brutalidad!, guitarras aplastantes crean un estado de hipnosis caótico del que sólo la batería de ”Spekte” nos logra sacar; Sina nos ofrece toda una plegaria vocal con su color de voz peculiar, en algunos pasajes Sina deja de cantar para simplemente narrar, lo que hace de este tema una montaña de emociones, que desciende al finalizar con unas melodías más relajantes y tranquilas, pero no te confíes, segundos después From The Vastland crea una explosión con el tema ”Khan e Dovom”, rayos guitarreros por doquier y el bajo de Tjalve se alinea con los tambores de ”Spekte” con la firme intención de martirizar, cuando crees que ya todo está perdido llega la tranquilidad con una atmósfera que nos hace recordar que estamos frente a un trabajo genuinamente original; éste tema Khan e Dovom es la prueba fehaciente que el sonido del Black Metal actual aún tiene mucho que dar.
Como si esto fuera poco, From The Vastland continua glorificando este álbum con el tema ”Khan e Sevom”, una marcha abismal que nos conduce al terreno más brutal de From The Vastland, con un sonido a la vieja usanza del Black Metal, mezcla de agresividad y rapidez; Sina nos entrega una versión rabiosa de su voz, mientras que las cuerdas y los cueros de la banda se entregan a toda una atronadora descarga; en este preciso momento, en el minuto 17:41 la batería de ”Spekte” inicia el camino para el tema ”Khan e Chaharom” con unos redobles tipo marcha de guerra. Sina y Tjalve nos traen uno de los momentos más memorables de todo el álbum, un tema que me hace recordar a los temerarios noruegos 1349; no en vano Tjalve fue el guitarrista (1997-2006) de 1349; puro y físico Black Metal en un estado superlativo. No exagero al decir que el tema Khan e Chaharom puede ser el mejor referente del sonido From The Vasltland.
”Khan e Panjom”, quinto track del álbum, no es la excepción en esta constante de The Haft Khan; Sina nos conduce con su voz a los terrenos de Persia y sus historias, un canto sentido, rabioso; acompañado de unas cuerdas difíciles de olvidar, Sina consagra su hacha con unos riffs dignos de admiración.
Los seguidores más acérrimos de la escuela Black Metal van a encontrar el oasis con ”Khan e Sheshom”, From The Vastland arremete con todo su poder para que no quede la menor duda que nos encontramos frente a una gran banda; guitarras filosas y agudas devoran nuestras mentes, bajo y batería en su estado de caos del más puro; ”Spekte”, para mi concepto logra las baterías más rápidas y brutales de todo el álbum.
El séptimo y último himno que nos trae From The Vastland en su álbum The Haft Khan, ”Khan e Haftom”, Sina decide relatar de manera pausada el epílogo de este trabajo conceptual, pero no logra llegar al final del mismo cuando es interrumpido de manera abrupta por el ensordecedor sonido de guitarra, bajo y batería que se enfrascan en un diluvio de riffs, golpes de tambor y cuatro cuerdas desesperadas; Sina contraataca nuevamente en su relato, toda una muestra de creatividad compositiva; es lo último que nos deja From The Vastland; 45:52 minutos es el tiempo total de duración del álbum The Haft Khan. From The Vastland rebasan los límites, podría decirse que es una obra maestra lo que han logrado con este álbum.
La temática, la música, la creación, la intencionalidad; el remolino de relatos épicos, históricos, religiosos y emocionales conjugados con la música de From The Vasltand hacen de The Haft Khan uno de los mejores álbumes lanzados este 2020, sin lugar a dudas.
https://headbanger.es/from-the-vastland-the-haft-khan-2020/
Since moving from Tehran to Trondheim From the Vastland mainman Sina has put his obvious talents – aided and abetted by some of Norway’s most (in)famous – to good use by taking up the baton of 2nd/3rd wave Black Metal, even as many of the bands who first epitomised the scene have died off, burned out, or transformed beyond all recognition.
On the one hand this means that From the Vastland (and The Haft Khan is no exception) doesn’t really offer any amazingly original twists or surprises, and if you’re at all familiar with the Norwegian Black Metal scene of the late ’90s and early 2000s – think Mayhem, Keep of Kalessin, 1349, and, particularly, Gorgoroth – then you’ll likely recognise a lot of the tools and musical motifs which Sina uses to create his pleasingly raw, yet mercilessly melodic, sound.
But, that being said, the man clearly isn’t trying to be a trailblazer. He’s a torchbearer, dedicated to (almost) single-handedly keeping the spark of Black Metal, of a certain time and a certain era, alive.
And, you know what? There are far worse goals to have in life, especially when you’re this good at it.
Ultimately there’s a lot to love here. Some great riffs. Some hideously infectious grooves. And some bold, bombastic hooks which, nevertheless, absolutely bristle with blackened menace. But, more than anything else, it’s the man’s obvious passion for this style of music which shines through on every single track, and which proves you don’t have to innovate in order to impress.
Iran/Norway's From The Vastland have returned with a new recording which continues the raw and melodic style of black metal and this is a review of their 2020 album "The Haft Khan" which will be released on April 30th as a joint effort between Satanath Records and Iron, Blood And Death Corporation.
A very dark, heavy and melodic sound starts off the album before going into a very fast and raw musical direction which also uses a great amount of tremolo picking and blast beats. Vocals are mostly grim sounding black metal screams and the music also adds in a decent amount of 90's influences but keeps it modern at the same time.
Throughout the recording you can also hear a decent mixture of slow, mid paced and fast parts while all of the musical instruments also have a very powerful sound to them. Some of the tracks are very long and epic in length while one song introduces clean playing onto the recording.
Spoken word pars can also be heard briefly on a couple of tracks along with the solos and leads being done in a very melodic style as well as one track also adding in a small amount of militant beats and dark soundscapes before returning back to a heavier direction, some tracks also add in some rain and thunder sounds and classical guitars can also be heard briefly on the closing songs. The production sounds very professional while the lyrics cover Zoroastrianism and the mythologies of Persia and Mesopotamia.
In my opinion this is another great sounding album from From The Vastland and if you are a fan of raw and melodic black metal, you should check out this recording.
http://occultblackmetalzine.blogspot.com/2020/04/from-vastlandthe-haft-khansatanath.html
With a bloodthirsty Persian army in tow, Sina Winter has stepped onto the windswept battlegrounds of Norway. Originally from Tehran, Iran, From the Vastland commander Sina left his homeland on a pilgrimage to Norway, the birthplace of modern black metal. Sina’s consummation with Norwegian extreme metal spawned an incubus: From the Vastland was born. Their sinister creation blends ancient Persian mythology and modern black metal blasphemy into a destructive force of unnatural chaos.
I had the tremendous fortune to meet Sina when living in Trondheim: we attended a film screening of the black metal documentary Blackhearts (starring him) in the mountains of western Norway in August 2016. He, and co-writer and co-director of Blackhearts Christian Falch, related an essential piece of knowledge to me: black metal is about the mindset first and the music merely supports it. I have carried this concept with me since that day. Sina, and the rest of From the Vastland, embody this meaning more than many of the contemporary acts with whom they compete, and they have delivered an inspired and meaningful force in The Haft Khan.
Sina Winter, right, (From the Vastland) and Christian Falch, left, (Blackhearts) in August, 2016, east of Hell, Norway. Photo credit Andrew Keene.
Haft Khān-e Rostam (Persian: هفت خوان رستم ) translates to The Seven Labors of Rostam, and tells the story of epic Persian hero, Rostam, who engages the evil Mazandarani daevas of the north after they have captured the Shah and imprisoned his army. Through these seven labors (for which the songs on The Haft Khan are named), Rostam and his mighty horse, Rakhsh, succeed in bringing the Mazandaranis and their leader, the White Demon, to justice. From the Vastland blast through the gates with vengeance: the first tracks rip at the eardrums just as Rostam slashes mythical lions and dragons at the start of his journey. His gore-covered hilt is quickly cleansed with ominous melodies, as they duel with Sina’s dripping growls in a down-tuned slow passage of thoughtfulness. Deep, throaty sermons channel an inner manifest destiny, as Rostam receives divine guidance to continue his quest. The fourth track, “Khan e Chaharom,” showcases Sina’s growls as slower and less frenetic than before, contrasting with searing riffs layered on top of each other to form an inverted escalator to hell. This track highlights the varied expertise of Spektre (also of Gaahlswyrd) on drums: transitioning from pummeling blast-beats to soulful interludes, this kit-basher nails his wicked resume to the White Demon’s forehead with every vicious strike.
Rostam’s quest pivots for its most rewarding stages with the fourth labor. He trades lengthy travel and mythical creatures for the undeniable pleasure of setting his people free and destroying their captors. In parallel, The Haft Khan‘s most insatiable moments come in these final three tracks. Sina seethes with enraged, belabored snarls behind searing distorted riffs, combing the black heavens and unleashing unrivaled rath. “Khan e Panjom” comes to a crushing halt when a static-laden deluge flash floods the scene, infused with early Watain-inspired guitar-work of despair and Tjalve’s (ex-1349) crushing bass lines. A disembodied voice urges Rostam on the path of calculated murder: he kills the Mazandarani champion Olad and the demon chief Arzhang Div as narrated by Sina’s piercing calls from beyond.
Standout track, “Khan e Sheshom,” blisters onto the scene with a melody from the far-east on speed. Blinded by the curses of the demons he has slain, Rostam has entered the mythical city of Mazanderan to free the Shah and his army, marching to the confident beat of From the Vastland‘s chorus of carnage. A galloping staccato of clean notes carries some of Sina’s deepest menace on the entire album, while blast-beats take a back seat for a moment to allow it to shine. The listener is straitjacketed by the entanglement of pace and production, until the divine words are spoken: “the seventh labor is about to begin.” At this moment, volcanic fire is extinguished in a beautiful acoustic outro, reminiscent of Dissection‘s “Crimson Towers.” The seventh labor is structured with chugging, churning, crushing chords that belie the impending slaughter: Rostam begins his final approach towards the White Demon, scarlet-stained sword in hand. This track brings a decisive conclusion to The Haft Khan, as Sina’s final growls dissipate into the wind as a discomforting quiet disseminates across the valley of the vanquished White Demon.
From the Vastland boldly conquers Norway’s steely landscape with resolute armies of Persian myth. Intertwining elements of aggressive, raw black metal with progressive, melodic passages, The Haft Khan confidently racks an emblazoned weapon into From the Vastland‘s growing repertoire of sharpened blades. Sina does not go softly into the night: he has an entire catalog of Persian mythology for inspiration, and some of Norway’s most bloodied brothers-in-arms backing him up. Await with trepidation From the Vastland‘s future spawn.
https://extremeundergroundmetal.com/the-haft-khan-by-from-the-vastland/
To the surprise of no one, From the Vastland continues to provide the world with top-notch black metal. Sina, originally from Iran and now residing in Norway, is a modern master of riffs, and knows how to perfectly recapture that second-wave glory while still retaining his own sound.
https://www.decibelmagazine.com/2020/06/05/five-for-friday-june-5-2020/
Любопытный блэк-метал-проект из Ирана (!) и Норвегии одновременно. Он был основан в 2010 году в Тегеране мультиинструменталистом по имени Сина, и первые два альбома – “Darkness vs. Light, the Perpetual Battle” (2011) и “Kamarikan” (2013) – он записывал самостоятельно. Кстати, что любопытно, первый из них был выпущен значком Arx Productions из Донецка, а вот второй – уже норвежским Indie Recordings: в 2013-м Сина перебрался в Норвегию, чей ментальный климат, судя по всему, оказался более дружелюбным для молодого музыканта. В Норвегии Сина продолжил сочинять музыку, привлекая для записи норвежских музыкантов, но предпочитая при этом оставаться в статусе one man band. Третий и четвёртый релизы (“Temple of Daevas”, 2014, и “Chamrosh”, 2016) вышли на бельгийском и голландском лейблах, а вот пятый и шестой (“Daevayasna”, 2018, и “The Haft Khan”, 2020) – на российском Satanath Records. “The Haft Khan” – альбом концептуальный: тексты его основываются на поэме персидского поэта Фирдоуси «Шахнаме» (сиречь, «Книга Царей») и повествуют о путешествии героя персидских легенд по имени Рустам, который должен спасти царя Кей-Кавуса и сразиться с Белым Демоном и его полчищами. Собственно, «хафтхан» на персидском – это и есть «семь подвигов» (а в нашем случае ещё и семь песен), которые совершил богатырь Рустам. Гитары и вокал Сина записал самостоятельно, а вот ритм-секцию пришлось ангажировать со стороны: с партиями бас-гитары помог Tjalve (Svartelder, Horizon Ablaze, экс-1349, экс-Pantheon I), с барабанами – Spektre (Gaahls Wyrd, Svartelder, Horizon Ablaze, Harm). Обложку для диска рисовал Шелл Аге Меланд, сотрудничавший с Pantheon I и Horizon Ablaze – и глядя на предыдущее предложение, становится понятно, кто сосватал Сине этого художника… В общем и целом, “The Haft Khan” – это вполне стандартный, классический блэк-метал в скандинавских традициях: длинные монотонные композиции по 6-7 минут, чередование скоростных и среднетемповых маршевых фрагментов, злобный бластбитовый стрёкот, время от времени сменяющийся более медленными проходами; зажатые между ритм-секцией и вокалом печально-гудящие гитары и неожиданно прекрасный чистый саунд. Скриминг у Сины, кстати, выше всяких похвал – с чёткой дикцией и в меру эмоциональный. Поначалу лонгплей воспринимается единым безликим монолитом, и лишь после второго-третьего прогона начинают проступать-узнаваться моменты типа короткого тревожного вступления и величественного мелодичного фрагмента в “Khan e Dovom”, чистоголосых декламаций под барабанный пульс в ‘Khan e Sevom” или яркого стартового риффа и медитативного пассажа в “Khan e Chaharom”. Кое-где угадываются ближневосточные даже не мелодии, а ритмические рисунки, вплетённые в лютый барабанный забой – как, например, в “Khan e Sheshom”: такие композиционные решения здорово оживляют общую отрешённость материала. Вот такие получились «Семь подвигов» – не для всех и каждого, но свою порцию внимания определённо заслуживающие… В первую очередь, релиз этот будет интересен непосредственно фэнам блэка, во вторую – тем, кто интересуется разными экзотическими метал-группами (блэк-метал от иранца – это как минимум интересно). Ну, и в-третьих – и это всего лишь забавное предположение – “The Haft Khan” должен прийтись по душе поклонникам персидской литературы. Если вы подпадаете хотя бы под одну из этих категорий – советуем ознакомиться!
http://inrock.ru/reviews/from_the_vastland_2020
Sixth full-length from From the Vastland, originally a one-man project from Iranian musician Sina, is now a three-piece with Tjalve on bass and Kevin Kvåle on drums. The band had to flee from their home country to Norway to avoid persecution, which makes sense when you consider that this band has always been about creating grim, vicious old-school Norwegian Black Metal. Sadly, as much as I respect anyone willing to put their life on the line for the music they make, they continue to have the same problem that's plagued them over their past few releases: their music is increasingly cliched and generic. That's not to say it's incompetent, far from it, but where other bands can at least make up for their plagiarism by doing it well, From the Vastland seem content in using those ideas to make songs that all sound the same, all of which are monotonous and tedious. This makes for an album and band that's overall kind of a chore to listen to, and unless you are a fervent devotee to the second-wave sound and want to support a band who's defiant in their desire to make it, there's not too much here to really recommend.
http://www.metalcrypt.com/pages/review.php?revid=12129
Iranista Norjaan siirtynyt sooloprojekti From the Vastland takoo black metaliaan kuin kuumaa rautaa. Levyjä tulee usein ja tasaista tahtia, josta tämä – yhtyeen kuudes levy kymmeneen vuoteen – on oiva osoitus.
Viimeiset kolme levyä (Chamrosh, 2016; Daevayasna, 2018 ja The Haft Khan, 2020) kuulleena on todettava, ettei projektin taso juurikaan heittelehdi, sen enempää hyvässä kuin pahassakaan. Samaa kaivoa on pumpattu jokseenkin samoin tavoin jo vuosikausia ja ideoita ilmeisesti riittää. The Haft Khan onkin luonnollista jatkumoa aiemmille levyille.
Samalla vain tyylin uusiutuminen tai kehittyminen on jäänyt varsin vähälle. Musiikin ytimessä on yhä nopeatempoinen ja melodinen black metal, jota sävytetään erinäisin tunnelmapaloin. Näissä ei sinänsä ole mitään vikaa, vaikka toisaalta jäisinkin kaipaamaan maestro Sinalta ensiluokkaista iskevyyttä tai parempaa tarttumapintaa. Vastapainoksi löytyy myös Mardukin mieleen tuovia hetkiä, kuten tällä levyllä Khan e Sheshom.
Kaikkiaan The Haft Khan kulkee turvallisia polkuja. Lajityypissään levy kaihtaa äärilaitoja: se ei ole erityisen räväkkä, raju tai raaka eikä toisaalta sisällä niitä lajityypin hempeyksiäkään. Tuotannollisesti mukava teos hoitaa sekä sävellykset että ärinät kaikin tavoin kivasti, joskin yllätyksettömästi. Reipastempoista meloblackia kaipaavalle levy on kuitenkin jokseenkin varma nakki.
https://www.impe.fi/reviews/1/21295
Iran. Een prachtig land met een heel rijke geschiedenis en een grote culturele rijkdom. Het staat dan ook hoog op mijn ‘bucketlist’ als reisbestemming. Dat ik het land nog niet bezocht heb, heeft echter te maken met de wel heel donkere keerzijde van deze Perzische medaille. Iran is een land met beperkingen. Beperkingen op vlak van religie en geaardheid bijvoorbeeld. Vrije meningsuiting, niet-conventionele persoonlijke ontplooiing en elke vorm van afwijking van de vastgelegde norm worden nauwelijks getolereerd en zijn zelfs potentieel strafbaar. Als een gevolg hiervan heeft niet elke kunst- en expressievorm dezelfde rechten om bij te dragen tot de hierboven geroemde culturele rijkdom van het land. En dat is heel jammer.
Recent informeerden we u nog over de lotgevallen van de Iraanse deathmetalband Arsames, die het land is ontvlucht om te ontkomen aan de celstraffen die de bandleden boven het hoofd hangen. Vorig jaar bereikte ons een gelijkaardig verhaal over de band Confess. Nee, metal heeft blijkbaar niet het recht om de Iraanse cultuur te verrijken. En dat is heel jammer.
Onder dergelijke omstandigheden is het onmogelijk om muziek te maken. Dat begreep ook Sina, het brein achter de Iraanse blackmetalband From The Vastland. Voor wie de blackmetalrecensies op onze site plichtsbewust naleest, is het verhaal achter deze band zeker al gekend. In 2013, slechts drie jaar na de oprichting van de band, verliet Sina zijn thuisland en zocht (en vond) een onderkomen op naar blackmetalnormen bijzonder vruchtbare grond: Noorwegen. Al snel begon hij hier zijn muzikale genie te ontplooien in samenwerking met een aantal gevestigde namen in het wereldje, waaronder Tjalve (Den Saakaldte, ex-1349) en Spektre (Gaahls Wyrd). Dankzij deze succesvolle collaboratie kwam From The Vastland in Noorwegen eindelijk tot volle wasdom. Het is dan ook niet verrassend dat deze band gekenmerkt wordt door een heel typisch Scandinavisch (Noors) geluid. Oosterse (Perzische) invloeden zijn maar zelden hoorbaar, dus verwacht zeker geen tweede Melechesh.
From The Vastland is niet een band van experimenteel gedoe of grote verrassingen. Sina en zijn Noorse collega’s leveren al sinds 2013 (het debuut heb ik nergens weten te beluisteren) consequent degelijk werk af, maar van enige evolutie is tot nu toe eigenlijk amper sprake. Vergelijk je oud werk, zoals Kamarikan (2013), met een recenter album als Daevayasna (2018), dan kan je enkel maar concluderen dat From The Vastland nog steeds dezelfde soort intense en melodische black metal blijft maken. Het geluid is doorheen de jaren wel een stuk voller geworden en de algemene stemming iets zwaarder en donkerder, maar in essentie blijft alles bij het oude.
Zes studioalbums op tien jaar tijd: Sina zit duidelijk ook niet stil. Het tienjarig jubileum wordt dit jaar dan ook gevierd met een nieuwe plaat. The Haft Khan is een prestigieus conceptalbum, gebaseerd op het lange epische gedicht Sjahnama (het Boek der Koningen) uit de elfde eeuw, een indrukwekkend werk geschreven door de Perzische dichter Ferdausi. De Sjahnama vertelt de geschiedenis van Iran aan de hand van de zeven beproevingen van de held Rostam. Weetje: het is het op twee na langste gedicht ter wereld.
Zeven beproevingen, zeven nummers. Zo eenvoudig zit dat dus. En dat zie je ook terug in de songtitels. “Khan” betekent “fase”, maar in dit specifieke geval zou je dat ook kunnen vervangen door “beproeving”. De andere woorden zijn eigenlijk gewoon de telwoorden in het Farsi (Perzisch).
Het album gaat dus van start met de eerste beproeving: Khan e Aval. Aangezien ik benieuwd was of elk nummer ook een weerspiegeling zou zijn van het specifieke verhaal dat erachter zit, heb ik dus even de achtergrond van elke beproeving opgezocht. Aan het begin van het verhaal van de eerste beproeving ligt onze held Rostam te slapen. Plots wordt zijn paard Rakhsh door een woeste leeuw aangevallen. De woeste hengst wint het van de leeuw en Rostam geneest zijn ros achteraf. En ja, dat verhaal zou je best wel kunnen horen in dit openingsnummer. De start is sereen (Rostam slaapt), terwijl er langzaam een dreigende melodie dichterbij sluipt (de leeuw). Plots barst de hel helemaal los (ik zie de leeuw het paard Rakhsh nu met moorddadige neigingen bespringen) en helemaal aan het einde van het nummer lijkt de aanval abrupt te eindigen (Rakhsh verslaat de leeuw). Het verhaal van de aanval wordt in het begin verteld door middel van scherp-melodisch gitaarwerk, ondersteund door een spervuur aan drumblasts. Kenmerkend voor de band blijft de spanningsboog echter nooit lang gespannen. Zo wordt er een tragere, naar mijn gevoel meer verhalende passage ingelast, die dan weer gevolgd wordt door viriel riffwerk, maar nog steeds met een uitgesproken melodische ondertoon. Sina “vertelt” dit allemaal aan elkaar met een vuige, rasperige schreeuw.
Khan e Aval bevestigt dat From The Vastland ook deze keer weer niet van het platgetreden pad zal afwijken. Afwisseling tussen atmosferische en ‘in-your-face’ brutale fragmenten blijft duidelijk de norm. Toch merk je doorheen het album wel dat er veel aandacht is besteed aan het toevoegen van bepaalde creatieve details, zoals overgangen tussen nummers. Zo loopt het dreigende einde van Khan e Aval mooi over in Khan e Dovom, het verhaal van Rostam in de woestijn. Een zachte melodie op sologitaar, ondersteund door rustig gesproken woord, verbeeldt de eenzaamheid en ontbering in de woestijn hier op sublieme wijze.
Khan e Sevom: Rostam verslaat een monsterlijke draak. Dat klinkt heel avontuurlijk en opwindend, en zo klinkt de muziek hier ook wel. Vooral het eerste deel hakt er stevig in. Het tweede deel is opnieuw bijzonder intens, maar atmosferischer.
De kracht van From The Vastland ligt het hele album door duidelijk in deze afwisseling tussen snelle, pittige uitbarstingen en meer intens-atmosferische momenten. En dat typeert de band echt wel. Sina schrijft nummers die het ene moment nog atmosferisch en beschrijvend klinken, maar evengoed enkele tellen later kunnen uitbarsten in een apocalyptisch blastbeatinferno dat zijn gelijke niet kent. De eerder lang uitgesponnen, beschrijvende passages, die op verscheidene nummers van dit album te horen zijn, kunnen soms wel wat langdradig overkomen. Daar moet je dan toch even doorheen kijken, want ook dit aspect van de muziek is op zich kwalitatief van een hoog niveau.
Toch heb ik één puntje van kritiek. De nummers zijn moeilijk van elkaar te onderscheiden, omdat ze heel vaak dezelfde opbouw doorlopen: aanloopje – uitbarsting – rustig stuk – atmosferisch stuk. Of een andere combinatie van deze elementen. De volgorde kan dan wel wijzigen, maar het is allemaal soms wat té langdradig en gelijklopend.
Dat neemt niet weg dat dit gewoon heel erg degelijke en kwaliteitsvolle black metal is. Dat er geput wordt uit een lange Noorse traditie is eerder een zegen dan een bezwaar. Zo is het op het einde van Khan e Chaharom toch gewoon genieten van de door Snorre Ruch geïnspireerde neerzijgende riffsequentie die ons nostalgisch terugvoert naar de hoogdagen van Thorns en de begindagen van Mayhem. Deze laatste topband is overigens een constante invloed gebleken doorheen de discografie van From The Vastland.
Dat Sina ook heel sterke, emotioneel geladen melodieën kan schrijven bewijst hij anders wel op Khan e Panjom. De combinatie met akoestische gitaar en de zware stem van Sina maakt dit nummer tot het sfeervolste op dit album. Opnieuw is er veel herhaling terug te vinden, maar laten we eerlijk zijn: het hele atmosblacksubgenre zit propvol herhalingen en uiteindelijk genieten we daar toch ook allemaal van, niet?
Voor het brutere werk moet je dan weer bij het begin van Khan e Sheshom zijn, een track die het verhaal vertelt van de bevrijding van koning Kay Kavus door Rostam. Het akoestische einde van dit nummer is ook absoluut het vermelden waard. Afsluiter Khan e Haftom betreft de grote finale van het verhaal, waarin Rostam de Witte Demon verslaat. Net als Rostam gaat ook Sina hier volledig los. Nee, aan de traditionele opbouw wordt niet echt geraakt, maar Khan e Haftom combineert de ondertussen bekende elementen op een heel knappe en evenwichtige manier. Eigenlijk gewoon een heel sterk nummer om The Haft Khan mee af te sluiten. Het einde is bijzonder abrupt: geen outro dus, maar gewoon eindigen met je laatste noot smerige black metal. Dat is ook een gave vind ik.
Eindconclusie? Geen gemakkelijk album, dit The Haft Khan, en zeker geen ‘easy listen’. Dat het om zeven verschillende verhalen gaat is mooi meegenomen en de hierboven overvloedig besproken atmosferische passages zorgen ervoor dat de aanval op je orgaan van Corti nog enigszins draaglijk blijft. Maar de muziek van From The Vastland is vooral heel druk, wispelturig en intens. Sina vergast ons op een muzikale rijkdom die indrukwekkend maar tegelijk ook vermoeiend kan zijn. The Haft Khan is dan ook een heel sterk album, maar niet voor iedereen weggelegd. Wil je weten of dit iets voor jou is? Beluister dan de twee nummers hierboven. Die kan je echt zien als een graadmeter. Ze tonen de twee gezichten van deze band en vatten zo het album wel mooi samen als je het mij vraagt.
https://zwaremetalen.com/albumrecensies/from-the-vastland-the-haft-khan
Do improvável e fundamentalista Irã vem o From The Vastland, projeto ‘one-man-band’ capitaneado pelo músico Sina (guitarra/vocal), que aqui contou com apoio do baixista Tjalve e do baterista Kevin Kvåle. “The Haft Khan” é o sexto ‘full’ do projeto, que ainda conta com um EP em sua prolífica discografia.
O som é um Black Metal que em sua maior parte soa agressivo, odioso e caótico. Regado a riffs intensos, o trabalho esporadicamente dá espaços para passagens menos velozes e brutais. Um fundo épico permeia as composições, que são de média a longa duração, porém bem exploradas.
O From The Vastland também aposta em timbragens ríspidas, mas com bases mais sólidas, maciças... Isso dá uma peso a mais às suas músicas. O fato de contar com uma cozinha orgânica ajuda muito e encaixa as composições em aspectos mais naturais. Tudo bem sombrio e negro.
As temáticas deixam o trabalho ainda mais interessante, já que sempre abordam a mitologia persa e mesopotâmica. Conceitual, "The Haft Khan" é baseado em uma das maiores histórias do poema épico de obra-prima, a peça mais notável da literatura persa, "Shahnameh" (The Book of Kings - Um dos mais longos poemas épicos do mundo). Uma beleza rara!
https://blogartemetal.blogspot.com/2020/08/from-vastland-haft-khan.html
Welcome to the home of Black Metal. Norway has long been associated with the genre after it has offered rafts of bands unto the world. Here today we have the most recent release from FROM THE VASTLAND
The artwork, which was designed and painted by Kjell Åge Meland. The beautiful and intricate design appears to show an almost mythical depiction, with subtle imagery that will leave buyers more than happy with any purchase, a new trophy case cover to stand on display.
The scene is set as “Khan E Aval” slowly builds through its introduction, before the archetypical ruthless blast beats and relentless riffage comes to the fore. Driving the track forwards at a break neck speed. It seems, over and over again when you think that the intensity of the music cannot get any greater that one of the members kicks it up a notch. Most noticeable for myself was the impeccable control of the pace from drummer Spektre. The track continues to deliver the purest of electrical energy throughout, before coming to a prolonged and prominent faded ending.
“Khan E Sevom” is thrust into your ears. A steady pounding introduction that is accented by flashes of the oh so familiar high intensity flurries that are so iconic within the genre. This ebb and flow styling continues throughout with regular bouts of intense music that breaks down into heavy and dense sections, giving the listener a slight respite from the relentless and intense main body.
Kicking it up another gear we come to “Khan E Panjom”. The melodic riffs from Sina’s guitar playing create an overtone of dread. This is thoroughly complimented by the remainder of the musicians as all parts unite in a blissful harmony that just carries the listener away to a distant land. Personally, I actually found myself closing my eyes to lose myself in the track. What I saw were brilliant visualisations of colours moving together to the music.
The music continues to develop in intensity as we continue to travel towards the latter stages of the release. “Khan E Sheshom” is the most involved track I feel in the album, relentless and unforgiving from start until finish. But we come to the finale “Khan E Haftom” is steady to begin, utilising a very prolonged and punctuated introduction that keeps the listener on the edge. And when the release finally comes, it doesn’t disappoint, all of the pent-up energy and any reserves that were left are released in the purest aural ecstasy available. As the track continued to build, I was once again lost, floating on a cloud, but it wasn’t to be, I was brought crashing back to earth as the track, and by association the album came to a sudden and untimely end. I was devastated.
Overall, I feel that this will be extremely well received by all fans of Black Metal, with its deep-set roots in the more traditional forms of the genre, it is simply a joy to behold a band that will deliver the music in such fantastic manner. Fans of GORGOROTH, IMMORTAL and MARDUK line up and do not let this fantastic group pass you by!
http://www.metal-temple.com/site/catalogues/entry/reviews/cd_3/f_2/from-the-vastland_2.htm
Sympatiske Sina
Metalverdenen stiftede første gang bekendtskab med Sina (manden bag From the Vastlands), da han var med i black metaldokumentaren ”Blackhearts”. Ulig de andre medvirkende, det neonazistiske græske band Naer Mataron og de dybt kiksede plastik-satanister fra Columbia, Luciferian, var Sina den eneste sympatiske i hele den lidt for langtrukne dokumentar. Kort fortalt levede Sina i Teheran, Iran – et land, der ikke just er pjattede med black metal. Så da han blev inviteret til at spille på Inferno Metal Festival i 2013, virkede det logisk at blive boende i Norge i stedet for at risikere undertrykkelse og fængsel hjemme i Iran – et valg, som alle nok forstår!
Persisk mytologi: norsk lyd!
The Haft Khan er bandets sjette album, og er en fortolkning af den oldgamle, persiske saga om helten Rostam og de syv prøver, han gennemgår for at vise folket, at han er den sande konge og frelseren. Heriblandt skal der både dræbes drager, dæmoner, mørke troldmænd samt snakkes med heste – ergo er Rostam lige dele Conan Barbaren og Hestehvisker! Egentligt en klassisk myte, der kan sammenlignes med Herakles’ tolv prøver og lignende sagn. For at hylde denne legende har albummet – naturligvis – syv numre; en for hver prøvelse. At black metal finder inspiration i gamle tekster, esoteriske myter og diverse sagn og religioner, er jo bestemt ikke en ny ting, men jeg skal vride min hjerne for at komme i tanke om et andet black metalband, der håndterer mellemøstlig mystik på en sådan måde, at det ikke virker til, de bare har copy-pastet en tilfældig samtale fra Den Korte Avis eller nationen! Sina (og dermed From the Vastlands, da det jo – naturligvis – er et enmandsprojekt, ellers er det jo ikke trve!) er dog ikke kun inspireret af sit eget, mytologiske ophav, for musikken bærer unægtelig præg af klassisk norsk black metal a la Darkthrone, Immortal, Mayhem, Emperor og (tidlig) Burzum. Dvs. masser af blastbeats, tremoloriffs, mol-akkorder og kælderskrig. Men bedst, som man sidder og bliver i tvivl, om det faktisk bare er en glemt skive lavet af et af de førnævnte bands, sniger der sig fremmede elementer ind hist og pist, der er med til at give albummet små (bittesmå!) nuancer af prog og folk – som virkeligt klæder albummet og passer udmærket til dets rammefortælling. Men det bliver aldrig så voldsomt, at ens corpsepaint krakelerer, eller ens nittehalsbånd strammer, for det er absolut klassisk norsk black metal uanset inspirationskilder og ophavsland.
To trve or not to trve….
The Haft Khan genopfinder hverken den dybe tallerken, ilden eller hjulet, og hvis man sammenligner det med den resterende diskografi, så kan det også være svært at skelne det fra tidligere udgivelser. Det er jo en af ulemperne ved at være et soloprojekt: at der ikke er inputs fra andre end en selv. Blander man det med den norske skole af black metal, får man et relativt konventionelt stykke musik, som man på mange måder føler, man har hørt før. Men det betyder dog ikke, at The Haft Khan er elendig eller noget. For selvom musikken lyder som noget fra 1990’erne, så gør produktionen det heldigvis ikke – og man kan også høre og mærke, hvor de
https://heavymetal.dk/anmeldelse/vastlands-haft-khan
Video review.
https://www.youtube.com/watch?v=EtvD-0RWJ8c
From The Vastland é aquele tipo de projecto que traz boa fama às one-man bands. Isto porque não há nenhum ponto fraco. Da voz ao instrumental, da produção à composição, tudo soa de topo, pujante como tudo. Para alguns este não é um nome desconhecido, sendo que também não será todos dias que nos surge metal extremo do Irão (mesmo que agora Sina, o mastermind por trás disto tudo, já esteja situado na Noruega há alguns anos) e a carreira de From The Vastland tem se revelado cada vez mais sólida. Este é apenas mais um passo seguro.
This album has the technique and sophistication of modern Black Metal bands like Misthyrming, but it also has the core essence and energy of classic Black Metal. It is a curious formula that achieves an album enjoyable for fans of any era of the style.
The vocals are ideal to perfect this formula too, since their purity helps to sweep away any possible contamination by other styles that may come from the elaborate guitar with complex riffs like in “Khan e Aval” or from the beautiful simplicity of “Khan e Dovom”.
While being pure Black Metal, the atmosphere transmitted is not the typical one, but one much more unique, with the beauty of Atmospheric Black Metal combined with the likes of Kampfar or other singular Norwegian bands, these songs are good, original and fresh. Also, all this magnificence is achieved mostly with fast tempos and tremolo picking, which makes it aggressive too.
I recommend this album if you’re a fan of Black Metal of any time period, since this album may be identified with any and every decade with its magnificence.
https://www.bathoryzine.com/2020/08/from-vastland-haft-khan-review-by-varg.html
“Haft Khan” is the name of the sixth album of the Iranian-Norwegian band From the Vastland , released by Satanath Records. Sine, composer, vocalist, guitarist, and, of course, the founder and sole member of the band, accompanied by bassist Tjalve and drummer Spektre . Sina started working with the Sorg Innkallelse in 2004 and founded the From The Vastland project after attending the 2013 Norwegian Inferno Festival. His appearance in the documentary Blackhearts (by Fredrik Akselsen), which is about the stories of several musicians who immigrated to Norway, made him famous and his activities in black metal music.
نقاشی کاور آلبوم اثر Kjell Åge Meland
Haft Khan album, like all previous works from From The Vastland that paid special attention to Iranian history, legends and myths, is taken from the story of Haft Khan Shahnameh of Ferdowsi and Rostam’s battles in Mazandaran to liberate Kikavous. The album has a high-tempo epic structure that reminds the listener of the early 1990s Black Metal and the works of Gorgoroth and Immortal with successive, sometimes rhythmic shouts and riffs. Although the album evokes a concept, the songs have a special and different dynamic; Fast or slow riffs distinguish each crack from another. The cinematic and, of course, epic sound at the beginning and the ending of each track creatively simulate the intro and outro of each “khan”. Apart from the dramatic drum marches at the beginning of the songs, some of the melodies also have a black metal theme of Iranian (Eastern) songs. This 46-minute album has seven tracks, each of which deals with one of the Khans.
http://misty-graveyard.org/en/haft-khan-by-from-the-vastland/
Шестой юбилейный альбом формации, которую возглавляет музыкант из Тегерана, переехавший в Норвегию. Видимо он подумал, что в Трондхайме ему попроще будет заниматься блэком. Я видел раньше даже, кстати, сканы в норвежских газетах, типа - вот иранец приехал, знает, где можно по настоящему развернуться. Ну это в прошлый раз, когда писал про альбом 2018 года.
Сейчас по составу:
Глава команды - Sina - гитары, вокалы, ex-Sorg Innkallelse.
Tjalve - бас (2013- настоящее время) еще играет в Horizon Ablaze, Svartelder, ex-Pantheon I, Midnattsvrede, ex-1349, ex-Den Saakaldte, ex-Nidingr, ex-Acarash (live), ex-Sarkom (live), ex-Alvheim.
Spektre - ударные (2015- настоящее время) еще играет в Gaahls Wyrd, Harm, Horizon Ablaze, Svartelder.
Как вы поняли, Sina законтачил с норвежскими музыкантами - ритм-секцией, с которыми и воплощает свои идеи в серебристые компакт-диски. Вся музыка и лирика написана им.
46 минут иранского блэка в иранско-норвежском исполнении. С прекрасным саундом, сооруженным где-то очень недалеко от места проживания главного героя этого повествования. Объемный, достаточно глубокий блэк металл, со сменами темпов, давления, атмосферы. Никаких вам клавишей, только истинная воплощенная норвежская тьма, которая падает на эту страну зимой, когда солнце ненадолго поднимается над горизонтом, дабы скорее скрыться. Сейчас, в конце ноября в Трондхайме световой день всего 5 с половиной часов. И в три часа дня уже начинается ночь. Надеюсь, вам стали более понятны условия возникновения скандинавского Black Metal? Впрочем, если я правильно услышал, в трэке Khan e Panjom мимолетно появляются клавиши. Которые погоду, конечно, не сделали, но добавили минорного настроения.
Тем не менее все было направлено на то, чтобы показать, что BLACK METAL как явление жив, и не собирается поддаваться под коронку. Откуда бы он не происходил и где бы он не записывался. Сина как бы говорит: достаточно иранцу приехать в Трондхайм, его руки сами тянутся купить гитару Jackson. Чтобы нарезать сноровистого и мид-темпового черного металла. А когда композер впадает в депрессивно-мизантропическое настроение, то сочиняет и более медленные блэковые композиции. Которые, кажется, замедляют саму жизнь, как у тех, везде по дому размещенных, жертв безумной бабки из фильма ужасов Books Of Blood. Прием - простой, но всегда эффективный.
Как вокалист Sina презентует себя с достойным скримом-гримом, и вангую, что скоро его будут приглашать норвежские группы, - для это ему еще надо записать 4 альбома, думаю. А ведь в Иране он не пел в той тегеранской команде. Трондхайм пробудил в нем вокалиста. Сина может и в глухой среднечастотный звериный рев, и в более резкий напряженный — это в более быстрых партиях, и в более низкий, ненадолго - чтобы не вынести себе напрочь глотку.
https://vk.com/wall216331265_4497
Vamos a complicar hoy las cosas. FROM THE VASTLAND es una banda de Black Metal que se forma en origen en Irán (Teherán) allá por el año 2010, para posteriormente coger el petate y largarse nada más y nada menos que a Trondheim, Trondelag (Noruega).... curioso máxime teniendo en cuenta que su sonido principal gira en torno al Black helado nórdico. Este The Haft Khan que os traigo hoy es nada más y nada menos que su sexto largo (también tienen un EP) y siendo el único que he escuchado, me he quedado muy sorprendido por la calidad que destilan. El salto cualitativo de la banda llega en 2013 (llegando a tocar en el Inferno) con ese traslado a tierras noruegas y publicación de su segundo largo por la celebérrrima Indie Recordings (Kamarikan).
Si existían detalles folklóricos en su sonido primigenio (discos como Darkness vs. Light, the Perpetual Battle o Kamarikan) lo desconozco porque no los he escuchado, pero leyendo viejas reseñas parece que sí. El proyecto inicial es único y exclusivo del iraní Sina tocando todos los instrumentos, pero con el paso del tiempo, la adición de más músicos y la mudanza a Noruega, pasa a voces/guitarras, y Tjalve (1349, Pantheon I, Svartelder...) al bajo y Spektre (Horizon Ablaze) a la batería, con apoyo de algún que otro músico más para el directo. En cualquier caso, no me termina de quedar del todo claro si el resto de músicos (incluídos Tjalve y Spektre) son todos invitados y de sesión (tal y como viene en las Webs) o bien parte integrante de la banda (como viene en el booklet/libreto del CD). Lo que sí es cierto es que Destructhor (Myrkskog ni más ni menos) y Vyl (Keep of Kalessin) han colaborado en los directos (para que os hagáis una idea de la calidad que hay aquí).
Lo que sí se mantiene intacto es el contenido de las letras, muy mesopotámicas y del palo Zoroástrico (me recuerdan a nuestros queridos Aathma). La música, un frío, cortante, heladísimo Black Metal de vieja escuela con un himno detrás de otro ("Khan e Chaharom" es impresionante) con ese medio tiempo tan característico de los primitivos Dimmu Borgir, los arranques de doble bombo a lo Satyricon, pasajes ambientales o furiosas arremetidas como "Khan e Panjom" que se apoyan en una conseguidísima base rítmica que no deja títere con cabeza (viene a recordar a 1349 o Marduk algo más ralentizados).
The Haft Khan, basado en el Shahnameh (El libro de los Reyes), poema épico persa escrito por Ferdowsi (entre C.977 y C.1010) con todos los elementos heroicos propios de este tipo de literatura cuasi ancestral, son el epicentro contextual perfecto para salirse de los patrones habituales del género en cuanto a letras, y adornar de otra forma ese seco, mayestático final de "Khan e Haftom", de largo el mejor tema del disco. Hipnótico y cortante en inicio, arrastrándose como una vieja maldición persa... voces susurradas y giro apoteósico hacia la visceralidad de Dark Funeral, Carpathian Forest y cosas así.
Y se me olvidaba... gran sonido gracias a los maestros de Strand Studio (mezcla y masterización), edición entre Satanath Records / Iron, Blood and Death Corporation y la portada, una genialidad de Kjell Age Meland.
https://lamuerteteniaunblog.blogspot.com/2020/11/from-vast-land-haft-khan-satanath.html
There’s plentiful detail to decipher here and most definitely nods to mythology aplenty I have no understanding upon (I really should do some research). A horned entity, flying horses and acolytes are only a few of the elements comprising this image.
This is most certainly not a release I would believe could be conceived, produced and performed by a solitary person. But it is, and it’s quite simply amazing, though not just for that fact alone. The atmosphere/aura is enveloping and the arrangements are a wicked, sensorial caressing, mixture of blistering and evocative, a combination sure to put the attention of most BM fans in a vice grip. I’m honestly unsure as whom to add as a “Recc for fans of” here (I was hoping Void would give me a few suggestions) though I’m quite confident based on the quality herein and the ease with which this is consumed that this will perk the attention of long-time and ‘newbie’ fan alike. As per usual I’m interested as to anyone’s thoughts, comments or suggestions.
For the record Void weighed in and added that this reminded him (following a quick scan) of a more Swedish melodic style, with similarities to Dawn, Sacramento, Lord Belial and early Naglfar. (Thanks Void)
https://cultmetalflix.wordpress.com/2020/11/12/abrasive-audio-2020-part-twenty-two/
Screen.
https://metaller.club/2020/11/15/from-the-vastland%e2%9b%a7the-haft-khan-review/
Tahle kapela je v mnoha ohledech výjimečná. Nádech exotiky sám o sobě toho, jak jistě dobře víte sami, mnoho nevytrhne, ovšem pozornost v první nástřel upoutá. Bez kvalitních nápadů a instrumentace je Vám exotika platná tak akorát jako mrtvému zimník. FROM THE VASTLAND mají ovšem bez velkohubého přehánění všechno. Sina, ústřední postava kapely, původně one-man projektu, nemá kořeny v Norsku, nýbrž v Íránu. Nehodlám nikomu podsouvat nějaké rychlé soudy a závěry o situaci ohledně metalu v této oblasti (to by vydalo na obsáhlejší a komplexnější článek, a nejsem si zcela jist, zda zrovna já jsem ten, který by se k těmto tématům měl vyjadřovat, takže vraťme se raději k hudbě samotné), ale na každý pád to na pohodu asi příliš nebude, na růžích nemá ustláno styl jako takový, a už vůbec ne black metal starého střihu. V Norsku v nesvatém roce 2013 nachází zkušené spoluhráče a z FROM THE VASLAND se stává plnohodnotná kapela, pevně postavená na black metalových základech s nepopiratelným vlivem historie a mytologie středního východu, organicky propojeným s black metalovým výrazivem.
„The Haft Khan“ je koncepčním albem, jehož příběh vychází z jednoho z příběhů eposu Šánháme (Shanhameh, Kniha králů), rozsáhlého veršovaného díla, sepsaného perským básníkem Firdausím kolem roku 1010 – symbol perské kultury a národní identity. Velmi silný koncept – pravda pravdoucí. Ruku v ruce s konceptem jde i hudební zpracování, FROM THE VASTLAND nejsou žádná black metalová tuctovka a už vůbec ne žádní papíroví čertíčci. Jsou to šelmy z dávných časů, které neztratily nic ze své nebezpečnosti, jsou hodny uctivého respektu a setkání s nimi není pro každého. Silovost projevu FROM THE VASTLAND předpokládá, podobně jako žánr obecně, jisté nastavení sluchu a posluchačovu připravenost, black metal není styl pro masové spotřební užití a nedělám si iluze, že toto, ač značně svébytné a speciální album, bude plnit stránky a obrazovky mainstreamových médií. To by bylo i proti veškeré obecně platné logice. Drtivá síla je na „The Haft Khan“ prostoupena působivými atmosférickými pasážemi, které právě dávají vyniknout osobitým náladám bez ztráty intenzity. V návalu black metalových vichřic je stále slyšet ozvěna slávy staré Persie jako silný jednotící prvek, jako hlas předků z minulosti a připomenutí vlastní jedinečnosti.
Jakkoliv zpočátku může album působit jako homogenní monolit agrese a chladné brutality, v mnoha případech typické pro norský black metal, zde se toho děje mnohem více, než s prvním poslechem úvodní skladby zdá. „The Haft Khan“ své nejsilnější zbraně neschovává pod pancířem příliš dlouho, pro posluchače byť je v základní fázi seznamování s black metalem, pokud má potřebnou zvědavost a trochu zvídavé ucho, nebude příliš velký problém objevit svébytnou atmosféru a horu emocí, které se na albu skrývají. Naprostá výjimečnost „The Haft Khan“ se nachází právě v mistrné a strhující symbióze severského black metalu a atmosféry středního východu. To, co zpočátku působilo jako průměr s ambicí, je black metalový mistrovský kus. Jen nemá potřebu se nápadně vystavovat na odiv, ten první krok naproti musí udělat posluchač – litovat nebude.
The origins of From The Vastland are rooted in Iran, the birthplace of founding member Sina. Iran actually has an extremely small yet enormously interesting Black Metal scene, but breathing ‘Iran’ and ‘Black Metal’ in one gasp is not always that evident. Some acts therefor remain in anonymous spheres, but in the case of From The Vastland, Sina took the decision to move over to Norway. For more information about this story, check out the .net or the information in some of my previously posted reviews.
Throughout a decade of raison d’être, From The Vastland recorded (and released) some excellent albums, heavily inspired by the Nordic scene: Darkness Vs. Light, The Perpetual Battle (Arx Productions 2011), Kamarikan (Indie Recordings 2013; once reviewed for this site by a former colleague), Temple Of Daevas (Non Serviam Records 2014), Blackhearts (2015-EP, Symbol Of Domination Productions + Hexenreich Records + Sphera Noctis Records), Chamrosh (Immortal Frost Productions 2016) and Daevayasna (Satanath Records + The Eastern Front, 2018). Reviews on the three last ones too might be found on this site, professionally (evidently) written by yours truly…
No, seriously, as you can see when analyzing my thoughts on the former albums, I do appreciate this project’s dedication to the sound of Norway and its influential scene. Actually, Sina (voices and guitars, music and lyrics) did work throughout the past years with famous musicians from bands like 1349, Myrkskog, Keep Of Kalessin, Horizon Ablaze, Nordjevel, Gorgoroth, you know… With this new album, he joins forces once more with bass player Tjalve (Svartelder, Horizon Ablaze, ex-Den Saakaldte, ex-1349, ex-Pantheon I) and drummer Spektre (Svartelder, Gaahls Wyrd, Horizon Ablaze, Harm). The whole thing was eventually mixed and mastered at the Oslo-based Strand Studio by famous studio wizard Marius Strand, whom you might know from his assistance with bands like his own Black Comedy, Trollfest, Svarttjern, Den Saakaldte, Susperia or Borknagar.
The lyrics of each From The Vastland release have always been inspired by the Persian mythology in general, and in extension everything that has to do with Zoroastrianism, Mesopotamian cults and myths, and Oriental / Middle-Eastern history in general. The Haft Khan too follows that path. It’s based on the Shahnameh poem, a specific poem taken from that Book of Kings, originally written about thousand years ago by some Abu-Al-Qasem Ferdowsi (a Persian author who lived from 935 to 1030 A.C.). more specific, this lengthy poem deals with a hero and his horse and his quest to free a king from the land of Mazandaran. It’s a fierce adventure with vengeful demons, rabid beasts and the evil forces of nature. Sina uses this literature as a metaphor of current existence.
Physical: 500 copies with twelve-page booklet, available via Russia’s Satanath Records and Mexico’s Iron, Blood and Death Corporation, with once again intriguing cover artwork; this time courtesy of K.A. Meland, who is no stranger to this combo at all. But let’s focus on the sonic side of this album.
And damn, damn, damn, but Sina permanently ‘grows’ within his Nordic approach. First I have to say that he is not evolving into catchy, predictable or superficial regions. Too often, I have known bands that loose themselves into a wider audience-minded approach, rather focusing on ‘likes’ and followers than staying true to their initial fanbase. Well, when talking about this project, From The Vastland sticks to its original pattern of Nordic-styled epic and tradition. This act stays true to the firm and melodious approach that characterizes the Scandinavian scene (I want to generalize this approach), continuing that proud, rhythmic, victorious execution once more. And with ‘proud’, I mean ‘epic’ for sure. I do not want to compare to Bathory just like that, but that final sequence of Khan E Dovom, for example… …nor to early Satyricon, yet what about the opening fragment of Khan E Sevom?... …and so on…
The Haft Khan is a truly magnificent album that balances in between a ‘popular’ (normally, I do detest such description, but here I am rather referring to a significantly recognizable song writing and performance) and an unorthodox execution. From The Vastland surely sounds comfortable, with its victorious melodies, majestic rhythm section, raspy voices, its remarkably professional sound quality (I will come back to this immediately) and the subtle yet great additions, like the martial introduction to Khan E Chaharom. In the vein of the former material, the variation in tempo, lacking stupid exaggeration, and the self-developed structures of all compositions involved, are well represented, and therefor the result is, once again, memorable and somehow addictive. The deep-thought compositions have a lot to offer – no, they are not creating a new approach at all – but they are enormously unique, convincing, overwhelming and somehow distinctive too. The few acoustic or rather Middle-Eastern aspects, very modest in use, are an example of the modesty, yet also superior craftsmanship, of this horde.
A word about the production. Well, this one is very decent, even virginally blank. But don’t worry, for this stuff does not sound ridiculously clinical either. With that decent approach, I am rather talking about the well-balanced mixture of all instruments, in combination with a neat sound – lacking any background noises, underestimated rhythm instrumentation, or inferior (or under-produced) elements whatsoever. There is a certain rawness going on, especially within the song writing + performance, but the sound quality surely is not poppy, fake-catchy either. Let’s praise the Khan for that subtle rustiness!
Only few band manage to maintain their convincing strength when they stick to their original approach. Some permanently evolve, others fade away in boredom. However, From The Vastland stay true to their original sound, but somehow they keep growing. The Haft Khan is not a renewing recording at all, and those looking after progression or evolution better stop reading (haha, we’re at the very end of this review, so I might have fooled you). But with this album, the craftsmanship in both song writing and recording capacities has no boundaries, no limitations. As said, you won’t find any track that sort of reinvents the whole scene. But then again, there is not one single composition that leaves the listener untouched. All seven of them are captivating, hugely intriguing and, above all, acting as one enormous sonic adventure.
https://www.concreteweb.be/reviews/vastland-4
Tocar Metal está prohibido en Irán, eso es lo que afirma Sina, el fundador de esta poderosa banda de Black Metal que actualmente radica en Noruega, cuna del género a nivel mundial.
Este álbum tiene como temática al “Shahnameh” una de las historias mas importantes de la cultura Persa, también conocida como el libro de los reyes; específicamente acerca de Rostam uno de los héroes mas importantes, quien pasa por muchas dificultades para salvar al rey Rakhsh.
En cuánto al sonido se trata de una interesante pieza de Black Metal extremo al mas puro estilo del Metal Nórdico y con razones obvias, pues allá fue donde todo esto fue gestado. La característica mas sobresaliente de este trabajo es la explosividad plasmada en cada uno de los tracks, los cuáles tras un desafiante juego de riffs, estallan a toda velocidad, tal y como lo hace una gaseosa muy agitada.
El ambiente generado es bastante tenso, pues la batería desde el fondo no deja de acelerar, las guitarras son perpetuas e insistentes y la voz está por demás decir que se escucha desbordadamente violenta.
Un detalle que no se puede pasar por alto son algunos intros fantasiosos que funcionan muy bien como cortina, los cuáles después de unos pocos segundos se retiran para abrirle paso a esta incansable batalla sonora.
Otro detalle por mencionar es que los 7 tracks tienen nombres casi iguales, pero que se diferencían por los 7 retos que el héroe Persa debe superar y se enlistan como: “Khan a aval”, “Khan e dovom”, “Khan e sevom”, etc.
El arte tanto en portada como en los interiores está muy bien elaborado, pues no podía ser de otra forma, quedaría a deber.
Según vi en una entrevista en Español, hay mas material compuesto y ejecutado por Sina en el pasado, el cuál según el no goza de una buena calidad, sin embargo estoy dispuesto a investigar y por supuesto a escuchar un poco mas a pesar de las advertencias.
Esta es la muestra de que cualquier cosa se puede llevar a cabo si de verdad estás dispuesto a hacerlas y que entre mas difícil sea conseguirlas, mas te saben cuando las consigues.
https://www.facebook.com/media/set/?vanity=xreviewszine&set=a.846331545921852
Some releases are so good that you can’t remain objective, despite how hard you try. “The Haft Khan” is that kind of release. From the Vastland is a band formed by Sina in 2010 in Iran as a solo project. After one full length release in 2011, he moved in Norway in 2013 and since then he has been collaborating with other experienced musicians, transforming the solo project into a real band. Since 2013, they have released five full length albums and one EP. The album I am listening at the moment and writing about, is their latest release called as stated above, “The Haft Khan”, co-released in 30th of April 2020 by the Russian label Satanath Records and the Mexican Iron, Blood and Death Corporation in CD format limited in 500 copies. The first impression comes from the impressive cover, which is a painting of the very talented Norwegian artist Kjell Åge Meland, showing a dark and epic fight between darkness and light, the underworld and the world of the living, the evil and the good. This is exactly what you should expect by this album, a relentless, dark and epic battle.
The music style of From the Vastland is declared by the first few seconds, that is brutal, fast Black Metal in the vein of the Scandinavian legacy. The riffing is warlike, fast, with beautiful changes, it will surely remind you of the great bands of the Scandinavian scene as Marduk, Enslaved, Satyricon, some Immortal references and of course Darkthrone. Though, apart from these obvious influences, Sina is honoring his Persian heritage by adding some slight middle eastern references to the melodies and to the general atmosphere. As you can understand their music is balancing between the epic feelings and violence, it is setting up the proper scenery and atmosphere for the story to unfold. The story is inspired by the Persian epos Shahnameh written by the Persian poet Ferdowsi, you will read more information inside the booklet, and the seven tracks narrate the seven challenges passed by the greatest Persian hero Rostam. If you read the lyrics alongside listening to the music, the experience becomes complete and the forty-six minutes of the album pass very smoothly. The work that Sina did regarding structuring his compositions is also responsible for the interesting experience.
The performance of the musicians is flawless, very professional but also sentimental and passionate. The guitars have clear sound and they deliver the riffs with absolute precision and the passion needed. The bass is not audible, so I could not distinguish to its lines. However, the production has given the bass sound that the compositions need. The drums are brilliant. On one hand, their performance is powerful, accurate and stable but also very passionate both into the parts of relentless pounding and in the slower, more atmospheric ones. On the other hand, their lines are very interesting with a lot of changes and technical details which will catch your attention frequently. The vocals are harsh Black Metal vocals in the more violent parts and deeper and darker in the slower passages, giving life to the lyrics and making the story more theatrical. The mixture is balanced and combined with the dark but clean production, they contribute a lot to the overall atmosphere of the album. As mentioned above, the lyrics are contained in the six-page booklet and they are written in English.
Although From the Vastland is a band almost ten years now, The Haft Khan is the album that introduced me to the band and I have to admit that I am both excited to get to know this band but also sad because I haven’t come across their releases earlier. There is no doubt that the band and especially Sina, are very talented artists and their new album proves it. Every Black Metal fan will surely appreciate this album, so do not hesitate and grab a copy.
https://www.orthodoxblackmetal.com/from-the-vastland-the-haft-khan/
Vicious, energetic, fast, crushing and full of heavy harmonies. That is The Haft Khan, the new album by From The Vastland founded and run by Iranian expatriate Sina out of Norway with help from Tjalve (1349) and Spektre (Gaahls Wyrd). This band and album become even more of an achievement were one to consider how the singer and multi-instrumentalist probably be hung by the Iranian regime were he to be identified and arrested.
The cumulative effect of this album is akin to the rush of seeing a horde of horsemen spill down the mountains and onto the lands galloping hard and mowing anything that stands before them. The album begins with a crackle akin to listening to a vinyl as if the music was taped onto the CD from the record original. It is a very good start that follows. It is a take-no-prisoners’ approach that puts the listener in the mood with both the screamed and lower pitch vocals interchanging for feeling of death, lore and haunting. With speed and heaviness checked, a heavy skin sound courtesy of an actual drummer who can play and a full sound and production The Haft Khan is as convincing as they come.
The Haft Khan references an Iranian legend dating back over one thousand years. ‘The Seven Tasks’ are attributed to an Iranian mythical hero called Roustam and his horse Raksh as narrated in a grand work of poetry called Shahnameh by the poet Ferdowsi. This implies two things: Firstly - no matter how much little kiddies insist and parrot otherwise – this is not black metal. Heck, this is a tribute to good defeating evil. This is hero metal telling tales of folklore with power and hierarchy re-established when a powerful king is restored to the throne and the demons are defeated. Secondly, as much as patriotism is chauvinism and is embarrassing, one has to acknowledge main man Sina’s surely conscious decision to stay away from silly non-metal instrumentation. This folk metal CD could easily have descended into the mire of Iranian melodies and tacky Iranian instrumentation. It does not and the album is so very much better and more credible for it. Even better, despite the album being a concept, it is not held up in boredom. Perhaps the guys in Judas ‘Nostradamus’ Priest could contact Sina and request lessons in album construction from him?
The album is divided into seven tasks and hence seven tracks. Khan E Aval betrays a Mayhem influence and then blasts forth. It has a warm and strong bass sound. Khan E Chahrom features an occult voice-over and a dark aura. It has a few effects to tell the story, but the song is not allowed to be weighed down by these. Think Sabbat’s History Of A Time To Come album. Khan E Panjom has a powerful drum roll, but fades like a pop song. Khan E Sheshom incorporates brief effects and spoken word to tell the story, but is neck breaking fast and Haftom (or seventh) cruises at hypersonic speeds. The only thing these songs are lacking are hypersonic metal guitar solos.
This is one of the better albums of recent months and an excellent choice for fans of Marduk, Mayhem and Dissection and comparable in quality to better newer releases like The Spirit’s Cosmic Terror or Czort’s Apostol.
http://metallian.com/fromthevastland.php
I just recently went back and listened to the FROM THE VASTLAND album that Immortal Frost Productions released because I wondered if I liked this one man come full band Norwegian immigrant black metal dude just because of the sacrifices Sina has made to be able to play his beloved black metal. I came to the conclusion that I liked the music simply because it was great stuff. Which brings me to this new(ish) one. This time I have no thoughts whatsoever about what I like about it because now I know it is all about the music. And this new one is as good as the previous one. Perhaps even a bit better. I feel that this one is more direct. Like a straight punch. I like how Sina mixes aggressive with atmospheric interludes. The way he does it makes the punch feel so much harder. Another really cool FROM THE VASTLAND album.
I had been awaiting for new songs from this band, I though their previous album Daevayasna was very decent album, and I still think it is.
The Haft Khan is very Norwegian style black metal release, musically and sound-wise. What is very good about the music is band`s musicianship. Drummer plays very diverse stuff; from atomic blast beats to rolling and rumbling drum arrangements – a perfect fit for the band. Vocals are quality shrieks with some baritone spoken moments which sound no less devilishly than those aggressive black metal ones, at least in some sequences of the album. Guitarists know how to keep you frenzy - their storming and ferocious riffs compile a furious sonic destruction. It`s not that songs are only very fast, music also involves groove, heaviness and crafty moments. There is a strong sensation in songs of this band that ties everything up in this album, either technically and musically, it`s certainly a very creative black metal record – meaning: blasting black metal songs with epic story. If you expect to hear some kind of innovations in those tracks, songs do not have it, but furious, black metal ride, many changes in music pace; it might be just your reward when you are listening to the band. This album, similarly to most of Scandinavian bands, carries something in sound, which is like a nocturnal scream, this constant, menacing darkness in music itself. There is some ambience and acoustic guitars in songs of less importance (not really remembering it when album ends playing), because music is mostly harsh and fast, just very quality black metal – this is how I memorize it.
The Haft Khan is a concept album, a Persian myth, which should not be much of a surprise - originally From the Vastland comes from Iran. They however play more like European bands and sound like them, but they just produced those tracks better than plenty of other hordes out there. Songs were recorded and mastered on Norwegian soil.
Iranista Norjaan muuttanut Sina on jo kymmenen vuotta ehtinyt puurtaa black metaliaan zarathurstralaisuudesta sekä Mesopotamian ja Persian mytologioista, eikä “The Haft Khan” poikkea linjasta. Kyseessä on konseptilevy, joka pohjautuu teokseen Šahname, Kuninkaiden kirja, joka on persiankielisten kansojen kansalliseepos. Aihe on siis grandioosi, mutta tekeekö itse äänitaide oikeutta lähdemateriaalilleen?
From The Vastlandin uutuustuote kuulostaa siltä miltä tuntuu mennä samaan toimistotyöhön lokakuisena maanantaiaamuna viiden vuoden jälkeen, vaikka menit fimaan alkujaan vain äitiyslomaa paikkaamaan. Ei inspiroi enää, urakehitys on tyssähtänyt tuttuun turvalliseen asiakaspalvelupuheluihin vastaamiseen ja toivot saavasi potkut – samalla kun tiedät että taloudellinen turva on taattu palkkapäivänä. Taukohuoneen pulla on jo päivän vanhaa, mutta syöt silti viipaleen, koska pullaa se on paskakin pulla. Onko tämä enää edes levyarvostelu, vai omaa henkilökohtaista avautumista?
Ei hätää, kyllä tuo kaikki oli (enimmäkseen) inhorealistista allegoriaa levyn kokonaisvaltaiselle laadulle. “The Haft Khan” on 2000-luvun black metalia niin hyvässä kuin väärällä tavalla pahassa: soundit on viilattu kauttaaltaan niin hyväksi, ettei tilaa mustalle magialle ole jäänyt. Sinalla on studiokuiva ärjyntä, joka ei herätä mitään tunteita kuulijassa eikä varmasti ollut tähtäin ns. kaikki pistetty peliin -suorituksiin. Se kuuluisa Pimeyden Henki ei ole ollut läsnä näissä sessioissa. Samaten itse riffi- ja sävellyspuolella ei päästä lähdemateriaalin Kuninkaiden kirjan ansaitsemalle tasolle.
Black metaliin pitäisi jättää aina pelivaraa nauhalle/kelalle/välimuistille, että sinne mahtuu itse Piru pesiytymään ja tuomaan särmää sekä ryhtiä touhuun. “Let The Devil In!”, kuten muuan Sargeist aikoinaan viisaasti veisasi. From The Vastland ei ole levyllään päästänyt edes eteiseen asti itse sielunvihollista, pikkupirua eikä kotitonttua!
Vaikka levyä on sahannut ees ja taas, niin yhtään muistijälkeä ei siitä jää. Albumi suorastaan valuu korvasta sisään ja toisesta ulos. Hetkessä elettävää musiikkia.. oikein carpe diem metal, saatana.
https://metalliluola.fi/from-the-vastland-the-haft-khan-2020/