In the final months of the year, I tend to harp on not letting the records from December vanish into the background because they likely are not going to be included in a lot of year-end lists. We’re lucky not to have a print deadline or anyone to whom we answer so that those records can end up getting the praise they deserve, if warranted.

Bindrune dropped Weft’s amazing debut “The Splintered Oar,” a couple weeks ago, and its power is such that it landed here at 5. This project is helmed by Charlie Anderson, a violinist most people in our audience would know best for his string work with Panopticon and Waldgeflüster, where he adds even more atmosphere and dramatics to those bands’ sprawling black metal. On this record he handles vocals, bass, guitar, strings, electric violin, synth, piano, and additional percussion. The album is a goddamn revelation, an inspiring, mind-swelling collection that is an incredibly bright star in black metal’s crowded sky. Accompanied by Panopticon’s Austin Lunn on drums and other guests, Anderson steps into a world in which previously he only had a smaller, albeit crucial, part.

“Leaves” opens awash in acoustics and strings, and on first listen not knowing what to expect, I figured a whole album of this would be quite stirring. Man, was I pleasantly surprised nonetheless. This one picks up, adding extra layers on top of emotions, sweeping and glazing, mournful melodies falling, piercing the night. Then, things change. “False Kingdoms” begins ominously, strings moving  and drums encircling, setting up a Western vibe. Then the blade hits your abdomen, the whole thing opening in full bore, howls crushing, black metal fury enveloping every inch of this song. “The Hull” launches heartfully, violin scarring, the playing feeling like red streaks across an evening sky. The power storms as throaty wails flex, smashing harder as the guitars take off for the clouds, echoes swim in the storm, and acoustics land and add a breezy cool. Closer “Dream of Oaks” is a stunner, basking in folkish melodies as Jordan Day’s singing reminds of a mix of Sturgill Simpson and Lawrence Peters, violin aching in the spacey echo. Andrea Morgan’s voice enters the fray and brings ghostly beauty before the power ruptures, blasts ravaging, everything spiraling into a smoldering fire and back toward dusk. (Dec. 19)

For more on the band, go here: https://www.instagram.com/weft_music

To buy the album, go here: https://shop.bindrunerecordings.com/

For more on the label, go here: https://bindrunerecordings.bandcamp.com/