Review by Vanass on May 17, 2020.

Anyone blessed with the slightest gift of an interest in today's growing heavy hardcore scene will surely recognize Xibalba as one of the already established bands with a solid release catalog. Talking about such a giant, it's for sure that you don't have to suffer a lack of professionalism in their musicianship when you listen to their stuff.

As one of the biggest enemies of intros and as someone who would like to start a petition to ban them permanently, I definitely can't say that I was impressed by the synth intro, which resembled the atmosphere of the horror movies of the 80s. It was just annoying, and I can't really explain what such a piece of kitschy noise does on a record so deeply rooted in punk. Fortunately, it doesn't take more than twenty seconds before the sonic attack of the first track 'La Injusticia' begins.

The good news is that there is a decent layer of doom metal to be found here. Admittedly, metallic hardcore is not really known for its melodies for obvious reasons... there aren't any. The doomy vibes build up an atmosphere which is a pretty good way to make the whole album sound darker and more sinister, adding extra quality to the dominant energy- and aggression-driven sound. The vocals are barely understandable, very raw, and are somehow in the midfield in terms of power and vocal range. Although I'm almost one hundred percent sure that if I had heard them outside of this musical context they would come in and out through my ears like shit, the simple fact that they fit the music completely makes the whole experience quite enjoyable.

I can't get around the fact that this album is just primitively said quite heavy. The riffs vary mostly from slow, doomy parts to death metal riffs in medium tempo with occasional drifting to even faster tempos. Low tuned guitars and absolutely successful cooperation with the drums seem to be the formula of these guys. You can hear their best on the rather punky riffs, whereas drummer Jason Runes does an incredible job with his perfect timing and a quite pleasant fast rhythm. The elements that are associated with hardcore are absolutely masterly executed and are definitely the more pleasant side of this release.

Despite the fact that the technical execution is almost perfect, there is one big problem. The guys tried their best to create something new from track to track, and in the end, they succeeded, but the doomy elements, which surely are a nice element of the whole from time to time, come at the expense of a strong reduction of the pacing, which made the whole thing quite forgettable at some points. There are tracks like 'Saka', in which nothing interesting happens for almost two minutes, and this isn't just an isolated case. This could have been a flawless release, but the lack of ideas at certain points cannot be ignored and it strongly disturbs the whole listening experience.

Nevertheless, this is still an above-average release with some highlights like the groovy punk parts. I would definitely recommend getting this album or at least checking out the tracks 'La Injusticia' and 'El Abismo II'. And now stop wasting your time with trivial things like reading and listen to some metal.

Rating: 7.5 out of 10

Review by Stellarium on April 21, 2024.

Smart bands always have a few offcuts that they choose not to bloat a full-length with. Most of the time it's because some tracks are cut for quality control, or because they plan to use these as a later supporting B-side. Some bands will buckle under peer pressure and just release some utter shite for the sake of a new EP that the label has demanded.

Rarely, as is the case here, these tracks will be gathered as an extension of the previous album to carry the theme just a little longer. Amorphis is one of those bands that has the foresight and nous to deliver this in a way that doesn't disappoint and actually works. This EP is a natural extension of "Tales from the Thousand Lakes" - which I do not need to tell you is probably their magnus opus.

We are already aware of the majesty of "Black Winter Day" which melds the Melodic death metal style with a tiny hint of Folk. The second track on here is "Folk of the North" - which is the main motif from the earlier "Karelia", but beefed out with additional progression and some electric Guitar. It's only eighty seconds long and is a nice listen but has no real purpose other than to demonstrate the switch between old and new.

Where the EP really adds a sense of purpose is with the two "Moon and Sun" compositions. Part I is a heavier track with death growls (the last time we really hear this for the majority of a track), and the lyrics (of course inspired by the Kalevala) allude to the disappearance of the Sun and Moon and acts as a metaphor for Death. Part II is a slightly softer track with an epic, up-beat introduction that sounds ominous and exciting. It also features the death growls, with a frenetic guitar lead. Keyboards play in and out of dominance, and there's more onus on the deep low-tom drum work. The later piano solo (and slight nod to the main motif of "Black Winter Day" catches me off-guard every time.

The Doors cover is simply not for me, as alluded to prior. Wouldn't feel right to insult the band and say that it sucks, as it has a certain charm that fits into what the band is doing at this point in time, but I can't give it any more credit other than saying that it doesn't light my fire.

The artwork of this EP is absolutely beautiful though - the Avian creature carrying Ukko's Hammer (Ukonvasara) over an endless ocean, backlit by the beautiful Moon (nestled in the centre of a crowning band logo) is one of the most striking images around and the colour hue is just gorgeous.

The real downside is the production - it mightn't be terrible, per se, but there's a particular flatness to it where it just feels something is missing. This is probably partially excusable for an EP in 1995 - Relapse wouldn't have been clear on the turnover on a relatively new, unusual sounding band on their catalogue and probably wouldn't want to pay big bucks for a complimentary side release. This EP did get a re-master later on though, and it's well worth checking out.

So, as a stop-gap release, "Black Winter Day" is absolutely fine. Good, approaching Great. A lovely way to welcome in the Progressive sounds of "Elegy" and to bid farewell to the Melo-death stylings of "Tales".Yet I can't help but feel that something is not quite where it should be.

Rating: 7.6 out of 10

Review by Luka on January 19, 2002.

This EP will help quench your thirst for that special atmosphere and feeling of the "Thousand Lakes" masterpiece that Amorphis once created with two original songs and an enchanting intro. The "ever-changing" have long since left behind the slow, doomy sound and death growls of probably the most significant album in the band’s career, and for some of us the serving wasn't enough.

Following the classic 'Black Winter Day' single is the strange and beautiful piano-based track 'Folk of the North'. A simple and passionate anthem that somehow really characterizes the northern folk and the pride Amorphis take in crafting their music with a strong sense of tradition.

The meat of the EP is found in the tracks 'Moon and Sun' and it’s sequel 'Part II: North’s Son' . The second part anxiously breaks into a quick, cheerful melody with a strong beat after Part one’s more sluggish and darker mood. The lyrics are still 100% traditional Finnish and the music, as always, dark, doomy, distorted and often painfully slow. The two songs would fit and flow seamlessly in the original album and 'Folk of the North' is easily a better opener than the 'Thousand Lakes' track from original album. For those who can’t get enough of the talented Finns, I strongly recommend this!

Bottom Line: Not much different than the original album... and who’s to complain?

Categorical Rating Breakdown

Originality: 9
Musicianship: 8
Atmosphere: 9
Production: 7
Overall: 7

Rating: 8 out of 10