Review by Jack on July 9, 2002.

Maintaining a stranglehold/consistency in the world of death metal is certainly a difficult thing to achieve; but implementing a fresh take on the death/grind scene is next to nigh on impossible in light of how many old faces continually rise from old bands in the form of new bands and the new bands out there are always looking for a window to jump through...

Visceral Bleeding would probably fit into the category of ‘buried alive’. Here we have an outfit that many would have presumed extinct or incapacitated, due to an indifferent reaction towards their “Internal Decomposition” demo in 2000. Many folks wrote Visceral Bleeding off and effectively laid these five lads from Sweden to rest, but circa 2002 Visceral Bleeding have risen from the grave and are out to seek fresh fans via “Remnants of Deprivation”.

The song compositions of "Remnants of Deprivation” while not really boasting the trademark ‘guitar solo followed by guitar solo’ death metal element are quite intricate and effectively give Visceral Bleeding a new angel to ply their butchery upon. What I mean by this is that “Remnants of Deprivation”, doesn’t boast the most flashy or skilled players in death world, these guys are competent but don’t deliver standout riff by standout riff or an unbelievable by an unbelievable solo during the course of a song. Instead we are introduced to a world of intelligent tempo changes and therefore there are songs that pique a listener’s interest rather than musical showmanship and gluttony, which frankly we can all do without. Visceral Bleeding follow through the varying nine of songs of "Remnants of Deprivation" with differing guitar breaks and measures, as well as many different takes towards drum work which is a fresh idea considering the absolute monotony often present with this scene. I am getting sick to death of stupidly talented musicians who deliver songs that are so predictable and fatuous. Visceral Bleeding are fortunately not subscribers of this school of thought.

Bottom Line: Visceral Bleeding are not a band who will ever write mind-blowing material, but as far as interesting death metal goes this is about as good as you will get.

Categorical Rating Breakdown

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

Rating: 7.8 out of 10

Review by Joshua on March 19, 2005.

This is one of the only “folk metal” albums in years to use melody and medieval influence without completely forsaking any semblance of musicianship.

It’s important to mention that straightaway, as a lot of “folk metal” is neither metal nor folk music. In fact, most of it’s crap. Moonsorrow could be the soundtrack to an SCA event. Finntroll followed them after a decent debut. Amorphis probably started the trend, and they completely suck nowadays. When I saw this band’s medieval garb in all their photos, I feared the worst, but the difference is obvious: while their countrymen were playing with foam swords in the forest, Korpiklaani concentrated on writing energetic, interesting music.

The factor that separates Korpiklaani from the aforementioned soundalikes is, in fact, their ability to write interesting songs. These tracks are horribly catchy. Too many bands in this style simply try to sound melodic, as if they’re in a contest to see who’s most sensitive. Moonsorrow are a great example: one listen and men start ovulating. Korpiklaani, meanwhile, borrow liberally from power metal, NWOHBM, and melodic death metal. The end product retains all the energy of an old NWOBHM record, and adds the melody of a medieval revival outfit.

I’d be lying if I claimed this concept was original, even though their execution of it can be stunningly innovative. The groundwork of folk metal was laid out by Viking metal bands in the 1990s: Nattvinden’s Grat, Otyg, Isengard… probably others that I can’t name because my keyboard won’t create umlauts in Linux. It’s an improved concept, though, which has corrected practically all the mistakes that most folk metal albums make. “Cottages and Saunas” opens the album with a brilliant power metal introduction, but erupts into snarling vocals long before you hear a moog synth solo. There are no harmonized choruses. The singer carries a tune without sounding emasculated. The melodic passages draw from such a wide range of influences that they almost never sound repetitive. So do the song structures, usually: the guitars on “Pine Woods” lie in the gulf between black and power metal, while “Fields in Flames” has a distinctive rock influence. The scales on “Journeyman” sound like old Cruachan. In fact, the only worthless song is “Native Land.”

This album’s great weakness – in fact, the only real weakness – is an annoying production. During the passages that most resemble old-school heavy metal, acoustic “folk” instruments are overdubbed and completely overwrought, which detracts from the aggression and energy. I realize that this production style is common now, but it’s completely unnecessary. Korpiklaani write good music – they don’t need to drown it with accordions.

I try not to be too optimistic, but folk metal seems to have finally reached a turning point. Perhaps, spearheaded by Korpiklaani’s Voice of Wilderness, folk metal will pay attention to the “metal” part of their genre’s often-misused appellation. Perhaps more bands will try to write interesting songs, rather than trying to write the world’s most melodic interlude. Perhaps Moonsorrow and Finntroll will just break up. Whatever the outcome, Korpiklaani have released a solid album – which I like, despite hating every other band who has this playing style. Unless you cannot stand folk metal, give this a listen.

Categorical Rating Breakdown

Musicianship: 8
Atmosphere: 8
Production: 4
Originality: 6
Overall: 7

Rating: 6.6 out of 10