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HEXVESSEL
Iron Marsh EP

Svart (2013)
Rating: 7.5/10

For those of you who’ve danced a merry jig around the esoteric fires of UK female-fronted Purson and the likes, then I’ve no doubt you’ll find something to savour with Hexvessel. Often described as Finnish folk-injected music, Hexvessel are in fact fronted by Englishman Mat McNerney, who also likes to go under the moniker of Captain Kvohst.

Fans of the already mentioned Purson will no doubt be excited by the guest appearance of said band’s Rosalie Cunningham, whose haunting vocal drifts through the cover of Yoko Ono’s 1973 song ‘Woman Of Salem’ (from the Feeling The Space album).

Elsewhere, Blood Ceremony vocalist and flute player Alia O’Brien features too, so as you can imagine this five-track EP is somewhat an eclectic taste – an often jangly, psychedelic kaleidoscope of tranquil grooves.

Opener ‘Masks Of The Universe’ is a trippy soundtrack of a tune that features some 70s-styled horns from Kimmo Helén and wistful melodies, as McNerney’s ritualistic chants prove to be rather hypnotic.

Those expecting a full-on metal assault need not bother tuning in. Hexvessel are very much the musical equivalent to the powers of nature – their unusual brand of progressive and psych-tinged rock rarely shifts towards any weight, proving more effective as a poignant, and dream-like soundscape. ‘Superstitious Currents’ is mere violin whine and oaken narration; a track that lingers in the night, finally dissolving alongside the flames of a dwindling forest fire.

Hexvessel are not just another bunch of occult-influenced rockers; their music is far deeper than the ghoulish groans of Ghost and the like. In fact, so far removed are this bunch of multi-instrumentalists from the norm that they deserve their own category.

Iron Marsh may only run for some 30 minutes, but after just one listen you’ll feel as if you’ve been marched across tundra wastes, transported through green pastures, and experienced all manner of elfish rites under a magical moon.

Not only are McNerney’s vocals enchanting in their foreboding, but he’s also accompanied by bassist extraordinaire Niini Rossi, delectable drummer Jukka Rämänen, deft guitarist Simo Kuosmanen, and the faint whispers of backing vocalist Marja Konttinen. Together they make a wonderful sound that while often touching upon the sinister, also remains enlightening and uplifting.

Such an example of those delightful emotions and moods is the simmering ‘Tunnel At The End Of The Light’ with its smoky rhythms and subtle percussion. This is where Marja comes to the fore with her soft, ushering vocals which rise from the speakers like burning incense. Meanwhile, the darker aspects of the EP come to the fire with the closing track ‘Don’t Break The Curse’, which has the devilish qualities of a night by the candle reading too much of Brian Bates’ The Way Of The Wyrd: Tales Of An Anglo-Saxon Sorcerer (1983).

Iron Marsh is at once earthy and spectral, existing as an atmospheric entity that could drift off anywhere at any given moment. Hexvessel are an experienced yet baffling bunch who effortlessly display the often unrevealed aspects of folklore, without once resorting to doomy weight to achieve their goal. So then, a touching, tantalising, yet brooding set of arrangements straight from the ever-changing seasons.

Neil Arnold

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