There are thousands of metal records that come out each year, and we review hundreds of them. At the end of the year, it’s hard to remember a fraction of what we wrote about without reviewing our work (which we do, by the way) because there is so much that is similar that not everything can stand out. That’s not a criticism; it’s reality.
I am certain that come the late days of December, I’ll remember “Folk Songs,” the debut record from Zelenaya, a NYC-based band that puts a metallic touch on traditional Eastern European folk numbers. This 12-track, 58-minute collection is the result of the band—vocalists Melanie Closs (Be the Ocean) and Veronica Dougherty, baritone guitarist/vocalist James Kogan, drummer/vocalist Caryn Havlik (Mortals)—unearthing and reconstructing these classic songs from areas such as Ukraine, Poland, Georgia, Serbia and other European territories and adding a molten, doomy edge to them. The songs also are fun and catchy as hell, their efforts to find lyrics and their translations and arrange them to have this extra power paying massive dividends. For an album that lasts nearly an hour, it feels like it rockets by, leaving you enthralled and energized by these recreations that take on a life of their own.
“Majka Bude Rodu” begins with thrashy power, sinister riffs, and swirling singing that is exciting and boisterous. The voices harmonize as synth clouds spread, slowing to a sludgy grind, chugging and torching to the end. “(reprise)” repeats melodies and vocal lines from “Majka” in hypnotic fashion, leading into “Oy Letilo Kupailo” that starts with dark guitars, and the singing giving off a Ludicra vibe. That’s something that repeats over this record, which makes it even more alluring. The playing speeds up and bathes with melodic warmth, the leads emerging and bubbling with muddy, intense barreling. “Urodyla Mene Mate” is mashing as the singing pushes, the darker strains making things feel chilling on the surface. A spirited rush makes the chorus rise, ripping into rougher terrain, wild yells causing your blood to rush, dual voices mixing and increasing the energy. Guitars thrash as the playing turns morose, wordless calls rousing as shrieks lash flesh. “Letila Zozulia” buzzes in as the dual voices meld, the guitars increasing the storminess. The playing is rousing and speedy, blazing as singing spirals, guitars char, and everything fades into time. “Hora Za Horoyu” lands with guitars stinging, the singing rousing as the atmosphere increases, floating into dreamier terrain, everything gaining more spirit as the tension builds. The force trudges as the colorful vocals sweeps, ending in immersive fire.
“Oy U Lisi, V Lisi” slinks and lurches, the singing rounding and basking in folkish melodies, the electricity reaching out and jolting. Howls echo as the guitars add layers of filth, compounding emotions and injecting infectious vibes into your veins. “Oyfn Pripetshik” has guitars folding in and srmashing, dual singing sweltering, a doomy underbelly making things feel a little murkier. Things get heavier and weightier, the playing turning on the heat, blistering until everything fades away. “Nasha Mate Na Bazari Bula” is infectious and mystifying, the playing hanging in the balance and luring you into its juicy center. There’s great storminess that’s rollicking but not dangerous, the singing awash in charisma, the pace ravaging you and pulling you under the water. “Okro Mch’edelo” has the drums pacing with might, the riffs spiraling, the singing awash in character that makes it impossible not to reward with your undivided attention. The playing bustles and entrances, surging with power that refuses to let go, making you feel every second. “Vikozhu Odin Ya Na Dorogu” brings cloudy synth, choral expressions soothing, the pace pushing and pulling, luring you into the heart of the track. Then, there’s a surprise. The band suddenly breaks into the chorus of “Ain’t Talkin’ ‘Bout Love,” the Van Halen classic, and they fucking nail it. Then we shift back into the scene, guitars glimmering and the singing lathering, the fires slowly letting go. “Spod Tego Jawora” revels in doom and snaking heat, riffs tangling around your waist. The singing rouses, and then the tempo rips, pelting with power, rounding back into group vocals that dig deep into your ribcage. The playing slows but loses no power, the singing stretching, and then we’re into gnarly death, smoking you into oblivion.
“Folk Songs” is unlike any other metal record you’re going to hear this year, mainly because there’s not bound to be another band collecting classic folk songs and turning them into crushers. Zelenaya has a charisma and style that is so fun to experience, and I can only imagine what they bring in a live setting. Unearthing these Eastern European gems, tracking down the words and melodies, and adding dark, energetic overtones transforms these for modern times and pays homage to its creators so their works are not lost to time.
For more on the band, go here: https://www.instagram.com/zelenayamusic/
To buy the album, go here: https://zelenaya.bandcamp.com/album/folk-songs
Meat Mead Metal 