Review by Fernando on January 14, 2022.

Finland being a very fertile breeding ground for metal is no secret, and alongside young and hungry bands, there’s also a lot of veterans from well-established acts constantly working on newer projects. One such case is today’s “supergroup”, now a late “super-duo”? Grieve, with their debut and final record aptly titled Funeral, released by Werewolf Records. This project was like I said a supergroup of sorts, it featured members of Horna, Arthemesia, Vargrav and even the Satanic Warmaster himself, Werwolf, collaborating for an EP. However, this record only features the former, alongside Vargrav mastermind V-KhaoZ, and is also their last, as the project was dissolved when this record was announced.

With that being said, what Grieve do with Funeral is a cold and grim tribute to classic black metal of the mid 90’s, and not much else, but to their credit, while they successfully recreate the particular sound and atmosphere of black metal from yesteryear, the music has a hateful and sorrowful melodicism that is more in line with modern Finnish black metal, albeit filtered through a gritty and raw production that give it that classic cold and grim quality of classic black metal. This also displayed through the songwriting. The songs follow a simple yet effective repetitive structure that focuses on guitar riffs, with the drums and bass serving as the technical backbone and the shrieked vocals tying it all together while the album zealously follows the tenets of black metal, that’s not to say this is just a pastiche of black metal, there’s actual variety in each song.

The album opens in a familiar way, furious speed with a somber atmosphere (this is maintained for a few songs) which then switches gears to a surprisingly catchy midpoint, where fans of Darkthrone would feel at home. And of course the album closes on an appropriately epic note. The final instrumental track 'Funeral Path' (appropriate title) is a summation of every element of the previous tracks, the cold and harsh atmosphere, the catchy yet evil groove and being also the slowest track, where keyboards also show up which, alongside the fact this is an instrumental track fully emphasize the fact that this is the end of the album, and the end of the Grieve as a whole, a funeral dirge where no words are need. All in all, a fitting end to the record and the band.

Overall, while this record does stick to past convention like grim death, it isn’t completely devoid of some interesting aspects on a technical level, but then again that seems more a byproduct of both Werwolf and V-KhaoZ years of of experience playing black metal to the point where they understand it on a fundamental level. So, suffice to say this record, while not mind blowing or revolutionary, is still a fascinating experience of seasoned veterans of the genre successfully adding their own spin to the now classic sound of black metal.

Best tracks: 'Winter Of Torment', 'Nocturnal Cries', 'Helvetin Valtaistuin', 'Funeral Path'

Rating: 8 out of 10

Review by Jack on June 1, 2002.

Montany’s new album “New Born Day” is all that a power metal enthusiast needs. Strong and consistent guitar riffs, safe song compositions (barring ‘World of Dreams (The Evermore)’ which breaks the mold fortunately for Montany, otherwise I might have been a little less lenient) and pretty average power metal vocals from Patrick van Maurik. I guess if you are looking for all these good and solid features, then you needn’t look any further than Montany and “New Born Day”. This is dependable and reliable power metal. Nothing more and nothing less, absolutely flat and unexciting.

Now don’t get me wrong, Montany are decent musicians, they are all very competent on their instruments and play each part in Montany infallibly. However, this again leads to the same overhanging problem that “New Born Day” suffers from: neutrality and blandness. With only one exception, “New Born Day” offers the consumer very little to jump up and down about.

That exception, ‘World of Dreams (The Evermore)’, is where things (thankfully) start to pick up for Montany. Here you are presented with a strong and innovative song composition. Add tasteful lyrics and you have a basis for (at the very least) an interesting track. On top of these song attribute rarities, ‘World of Dreams (The Evermore)' features catchy choruses that you actually try to make the words out to, rather than normal reaction of crying every time you hear the beginning to “New Born Day”.

Bottom Line: “New Born Day” strikes me as just another sausage on the barbecue. There is nothing to prompt Montany being picked for your plate instead of the tasty German bratwurst that reads Blind Guardian. Personally I prefer the big, fat and juicy bratwurst.

Categorical Rating Breakdown

Musicianship: 6
Atmosphere: 5
Production: 8
Originality: 4
Overall: 4

Rating: 5.4 out of 10