Music Video of the Day: We Need A Gimmick by Nekrogoblikon (2015, directed by George Nienhuis)


Who are Nekrogoblikon?

This is what it says over on their website:

What happens when you put a bunch of bloodthirsty, music-loving goblins together? Well, a lot of disembowelment, but also a lot of catchy tunes. Formed six millennia ago, and practicing only every other leap year on a full moon, the band has perfected their brand of crushing goblin music.

Nekrogoblikon is also a band that was formed in 2006 in Palo Alto, California and who have built a loyal cult following by performing songs about goblins.  In 2012, the band uploaded a video to YouTube for their song, No One Survives.  It was about a goblin trying to win the affection of one of his co-workers (played by Kayden Kross).  No One Survives became a viral hit so their video for We Need A Gimmick features John Goblikon (played by David Rispoli) using what he’s learned to help Nekrogoblikon find the gimmick that will keep Earthlings from realizing that the members of the band are actually goblins from outer space.  Along the way, the video parodies rap, EDM, and Justin Timberlake.  And, of course, Kayden Kross returns.

Nekrogoblikon has shown a longevity that would probably surprise those who originally dismissed them as merely being a novelty act.  On April 13th, they released their 5th album, Welcome to Bonkers.

 

 

necromoonyeti’s 10 Favorite Songs of 2011


I want to hop on the bandwagon. It would be a little silly for me to post my real top 10; for one thing, it would include four Krallice tracks. That aside, nearly everything I’d put on it I’ve either posted on this site as a Song of the Day or included in both my review of its album and my top albums post. So to make this a bit different from my past posts, I’m going to limit myself to one song per band, stick to stuff that I imagine might appeal to people who aren’t interested in extreme metal, and keep it on the catchy side. I’ll list a more honest top 10 at the end.

10. Powerwolf – Son of a Wolf (from Blood of the Saints)

As such, my tenth place selection is about as metal as it’s going to get. Powerwolf’s Blood of the Saints might be simple and repetitive, but it’s about the catchiest power/heavy metal album I’ve ever heard. It indulges the same guilty pleasure for me as Lordi and Twisted Sister–two bands that inexplicably pump me up despite being entirely tame. It also offers some amazing operatic vocals and Dracula keyboards, the cheesiness of which can be easily forgiven. Son of a Wolf might be one of the more generic tracks in a sense, but it’s the one most often stuck in my head.

9. Alestorm – Barrett’s Privateers (from Back Through Time)

The only thing I love more than traditional folk and sea chanties is folk punk and metal. When the latter covers the former, I’m in bliss. Alestorm are emerging as the sort of Dropkick Murphys of metal with all their covers lately, and I hope they keep it up. I loved Barrett’s Privateers before what you’re hearing ever happened, and the metal version delights me to no end.

8. The Decemberists – Rox in the Box (from The King is Dead)

The Decemberists really toned it down this year. Where The Hazards of Love could be described as an epic rock opera, The King is Dead sticks to simple, pleasant folk. But Colin Meloy thoroughly researches pretty much every subject he’s ever tackled, and The King is Dead pays ample homage to its predecessors. Rox in the Box incorporates Irish traditional song Raggle Taggle Gypsy with delightful success.

7. Nekrogoblikon – Goblin Box (from Stench)

With a keen eye towards contemporary folk metal like Alestorm and Finntroll, melodic death classics like In Flames and Children of Bodom, and much else besides, former gimmick band Nekrogoblikon really forged their own unique sound in the world of folk metal in 2011. At least half of the album is this good. Stench is the most unexpected surprise the year had to offer by far.

6. Korpiklaani – Surma (from Ukon Wacka)

Korpiklaani almost always end their albums with something special, and 2011 is no exception. The melody of Surma is beautiful, and Jonne Järvelä’s metal take on traditional Finnish vocals is as entertaining as ever.

5. Turisas – Hunting Pirates (from Stand Up and Fight)

I couldn’t find a youtube video that effectively captured the full scope of Turisas’s sound in such limited bitrates, but believe me, it’s huge. Go buy the album and find out for yourselves. Unlike Varangian Way, not every track is this good, but on a select number Turisas appear in their finest form. Adventurous, exciting, epic beyond compare, this band delivers with all of the high definition special effects of a Hollywood blockbuster.

4. The Flight of Sleipnir – Transcendence (from Essence of Nine)

Essence of Nine kicks off with a kaleidoscope of everything that makes stoner metal great, while reaching beyond the genre to incorporate folk and Akerfeldt-esque vocals. A beautifully constructed song, it crushes you even as it floats through the sky. I could imagine Tony Iommi himself rocking out to this one.

3. Boris – Black Original (from New Album)

From crust punk to black metal, there’s nothing Boris don’t do well, and 2011 has shown more than ever that there’s no style they’ll hesitate from dominating. I don’t know what’s been going on in the past few years with this popular rise of 80s sounds and weird electronics. I don’t listen to it, so I can’t relate. But if I expected it sounded anything nearly as good as what Boris pulled off this year I’d be all over it.

2. Tom Waits – Chicago (from Bad as Me)

Bad as Me kicks off with one of my favorite Tom Waits songs to date. It’s a timeless theme for him, but it feels more appropriate now than ever, and his dirty blues perfectly capture the sort of fear and excitement of packing up and seeking out a better life.

1. Dropkick Murphys – Take ‘Em Down (from Going Out in Style)

In a year just begging for good protest songs, Flogging Molly tried really hard and fell flat. Dropkick Murphys, another band you’d expect to join the cause, released perhaps their most generic album to date (still good mind you, but not a real chart topper). Take ‘Em Down is kind of out of place on the album, but it’s DKM to the core, and as best I can gather it’s an original song, not a cover of a traditional track. If so, it’s probably the most appropriate thing written all year. (The video is fan made.)

If you’re interested in my actual top 10, it runs something like this:

10. Falkenbach – Where His Ravens Fly…
9. Waldgeflüster – Kapitel I: Seenland
8. Liturgy – High Gold
7. Endstille – Endstille (Völkerschlächter)
6. Blut aus Nord – Epitome I
5. Krallice – Intro/Inhume
4. Liturgy – Harmonia
3. Krallice – Diotima
2. Krallice – Telluric Rings
1. Krallice – Dust and Light

And that excludes so many dozens of amazing songs that it seems almost pointless to post it.

My Top 15 Metal Albums of 2011


The years I most actively indulge my musical interests are the ones I find most difficult to wrap up in any sort of nice cohesive summary. December always begins with a feeling that I’ve really built up a solid basis on which to rate the best albums of the year, and it tends to end with the realization that I’ve really only heard a minute fraction of what’s out there. I’m going to limit this to my top 15. Anything beyond that is just too arbitrary–the long list of new albums I’ve still yet to hear will ultimately reconfigure it beyond recognition.

15. Thantifaxath – Thantifaxath EP
Thantifaxath’s debut EP might only be 15 minutes long, but that was more than enough to place it high on my charts. The whole emerging post/prog-bm sound has been largely a product of bands with the resources to refine it, and it’s quite refreshing to hear sounds reminiscent of recent Enslaved without any of the studio gloss. That, and I get a sort of B-side outer space horror vibe from it that’s not so easy to come by. (Recommended track: Violently Expanding Nothing)

14. Craft – Void
This is the straight-up, no bullshit black metal album of the year. It doesn’t try anything fancy or original. It’s just good solid mid-tempo bm–brutal, evil, conjuring, and unforgiving. Hail Satan etc. (Recommended track: any of them)

13. Turisas – Stand Up and Fight
Stand Up and Fight doesn’t hold a candle to The Varangian Way, but I never really expected it to. As a follow-up to one of my all-time favorite albums, it does a solid job of maintaining that immensely epic, triumphal sound they landed on in 2007. It lacks their previous work’s continuity, both in quality and in theme, but it’s still packed with astoundingly vivid imagery and exciting theatrics that render it almost more of a movie than an album. (Recommended tracks: Venetoi! Prasinoi!, Hunting Pirates)

12. Endstille – Infektion 1813
Swedish-style black metal seldom does much for me, and it’s hard to describe just what appeals to me so much about Germany’s Endstille. But just as Verführer caught me by pleasant surprise two years ago, Infektion 1813 managed to captivate me in spite of all expectations to the contrary. Like Marduk (the only other band of the sort that occasionally impresses me), they stick to themes of modern warfare, but Endstille’s musical artillery bombardments carry a sense of something sinister that Marduk lacks. The dark side of human nature Endstille explores isn’t shrouded in enticing mystery–it’s something so thoroughly historically validated that we’d rather just pretend it doesn’t exist at all. The final track, Völkerschlächter, is one of the best songs of the year. Stylistically subdued, it pummels the listener instead with a long list of political and military leaders responsible for mass murder, named in a thick German accent over a seven second riff that’s repeated for 11 minutes. It’s a brutal realization that the sensations black metal tends to arouse are quite real and quite deplorable, and it will leave you feeling a little sick inside.

11. Nekrogoblikon – Stench
Nekrogoblikon released a folk metal parody album in 2006 that was good for laughs and really nothing else. The music was pretty awful, but that was intentional. It was a joke, with no presumption to be any good as anything but a joke. They’re the last band on earth I ever expected, a full six years after the fact, to pop back up with a really fucking solid sound. But Stench is good. I mean, Stench is really good. It’s still comical in theme, but the music has been refined beyond measure. Quirky, cheesy guitar and keyboard doodles have become vivid images of little flesh-eating gremlins dancing around your feet, whiny mock-vocals have taken the shape of pretty solid Elvenking-esque power metal, pretty much everything about them has grown into a legitimate melo-death and power infused folk metal sound. Don’t get me wrong, it’s still not meant to be taken seriously, but they’re now of Finntroll caliber. (Recommended tracks: Goblin Box, Gallows & Graves, A Feast)

10. Týr – The Lay of Thrym
I thought By the Light of the Northern Star was a fairly weak album, and because The Lay of Thrym maintains some of the stylistic changes they underwent then, a part of me keeps wanting to say it can’t be as good as say, Land or Eric the Red. But of all the albums I acquired in 2011, I’ve probably listened to this one the most. Týr have one of the most unique sounds on the market, and it’s thoroughly incapable of ever boring me or growing old. Heri Joensen’s consistently excellent vocal performance alone is enough to make them perpetual year-end contenders. (Recommended track: Hall of Freedom)

9. Waldgeflüster – Femundsmarka – Eine Reise in drei Kapiteln
This is some of the most endearing black metal I’ve heard in a while. Intended as a musical reminiscence of Winterherz’ journey through Femundsmarka National Park in Scandinavia, it’s a beautiful glorification of nature that takes some of the best accomplishments of Drudkh and Agalloch and adds to them a very uplifting vibe. Someone made an 8 minute compilation of the album on youtube which does a good job at previewing without revealing all of its finest moments. (Recommended track: Kapitel I: Seenland)

8. Ygg – Ygg
Ygg is an hour-long trance, evoking ancient gods in a way that only Slavic metal can. You could probably pick apart the music and discover plenty of flaws, but that would miss the point. I think that a lot of these Ukrainian and Russian bands are true believers, and that the purpose of music like this is more to create an experience in the listener than to be good for its own sake. This is a spiritual journey, and if it fails to move you as such it will probably come off as rather repetitive and generic, but I find it impressively effective. (Recommended track: Ygg)

7. Blut aus Nord – 777: Sect(s)
I don’t know where to put this really. I could just as easily have labeled it second best album of the year. Dropping it down to 7th might seem a little unjustified, but eh, this is a list of my top albums, not of the “best” albums of the year. There’s no denying Sect(s) credit as a brilliant masterpiece, but it’s an ode to madness. I mean, this music scares the shit out of me, and if that means it’s accomplished something no other album has, that also means I don’t particularly “enjoy” listening to it. (Recommended track: Epitome I)

6. Altar of Plagues – Mammal
I never did listen to Mammal as actively as I would have liked. I never sat down and gave it my undivided attention from start to finish. But it’s served as a background piece for many late nights at work. It zones me in–stimulates my senses without ever distracting them from the task at hand. I don’t feel like I can really say much about what makes it great, because that’s not the sort of thing I’ve considered while listening to it, but I absolutely love it. It’s a big improvement from White Tomb, which was itself an excellent album, and more so than most other releases of 2011 I will probably continue to listen to it frequently in years to come. (Recommended track: Neptune is Dead)

5. Primordial – Redemption at the Puritan’s Hand (track: No Grave Deep Enough)
Redemption at the Puritan’s Hand is by no means perfect. It’s got a few sub-par tracks detracting from the full start to finish experience, but when it’s at its best all else can be easily forgiven. Call it folk metal or call it black metal, whichever you prefer, but first and foremost call it Irish, with every good thing that might entail. The vocals are outstanding, the music rocks out in folk fashion without ever relenting from its metal force, and while the lyrics don’t always make sense, they always hit like a fucking truck. Where they do all come together, delivered with Nemtheanga’s vast and desperate bellows, the result is overwhelming. O Death, where are your teeth that gnaw on the bones of fabled men? O Death, where are your claws that haul me from the grave? (Other recommended tracks: The Puritan’s Hand, Death of the Gods)

4. Falconer – Armod (track: Griftefrid)
Prior to 2011 I’d largely written Falconer off as one of those power metal acts that were just a little too cheesy to ever excite me. Maybe it was bad timing. Maybe I just happened to hear them for the first time while Kristoffer Göbel was filling in on vocals. Or maybe Armod is just their magnum opus–a spark of genius they’ve never neared before. Flawless if we ignore the “bonus tracks”, Armod takes that early folk metal sound Vintersorg pioneered with Otyg, merges it perfectly with power metal, and offers up 11 of the most well-written and excellently produced songs of the year. Mathias Blad’s vocals are absolutely phenomenal. (Other recommended tracks: Herr Peder Och Hans Syster)

3. Falkenbach – Tiurida (track: Sunnavend)
A lot of people might voice the legitimate complaint that Tiurida, Vratyas Vakyas’s first studio album in six years, sounds absolutely indistinguishable from his prior four. For me, that’s exactly why it ranks so high. Vakyas landed on a completely unique, instantly recognizable sound which, alongside Bathory, defined viking metal as a genre, and he’s refused to change it one bit. I fell in love with this album ten years ago. (Other recommended tracks: Where His Ravens Fly…)

2. Liturgy – Aesthethica (track: Harmonia)
Yes, Liturgy. It’s immature, childish, and imperfect, but it’s uplifting in a completely new way. No matter how far Hunt-Hendrix might go to embarrass himself and his band mates, behind all of his pompous babble there just might be some truth to it. (Other recommended tracks: True Will)

1. Krallice – Diotima (track: Dust and Light)
More than the album of the year, Diotima is one of the greatest albums ever made. I can’t fathom the amount of skill it must take to perform with the speed and precision that these guys do, but if they battered down a physical barrier to metal in 2008, they finally grasped hold of what lies beyond it in 2011. They claim that the songs on their first three albums were all written at the same time by Mick Barr and Colin Marston, before their self-titled debut. If that’s the case, then it must be the experience of performing together and the creative contributions of Lev Weinstein and Nick McMaster that raised Diotima to a higher level. It’s not just that they’ve improved in every way imaginable; the songs themselves are overwhelming, breathtaking, and chaotic to a degree they’d never before accomplished. Krallice perform an unwieldy monster that took a few albums to thoroughly overcome. Now they’re in complete control, and their absolutely brilliant song-writing can shine through. With the exception of the dubious Litany of Regrets, this is possibly the greatest album I have ever heard. (Other recommended tracks: Inhume, Diotima, Telluric Rings)

Review: Nekrogoblikon – Stench


Up until late July, Nekrogoblikon were a nearly forgotten gimmick. Their first and only previous album, Goblin Island, was released in 2006, and that was the last I ever heard of them. Aside from telling the story of an extra-terrestrial goblin invasion of the most heinous sort (they even ruin Christmas), it featured, among other things, sound clips of the band screaming like little girls, an actual stereotypical Christmas song, a cover of In Flames’ Artifacts of the Black Rain with all the lyrics substituted for banter about goblins, and a dance beat chiptune outro. Musically, it was simultaneously a mockery of a lot of the bands that probably influenced them and a pretty decent, enjoyable imitation of them. But it was never funny in say, a GWAR or Alestorm sort of way. It was more like a Weird Al thing–a novelty. You laugh, but you really don’t want your friends to know you listen to it, and you never play through it twice in a row.


Goblin Box

Their new album is a very different beast. Over the past five years they’ve actually matured into really good song-writers. Don’t get me wrong, Goblin Island had some really catchy tracks, but in the music just as in the lyrics there was a sort of audible immaturity, by design of course, that made light of the bands they were imitating. On Stench this notion is more internal. That is, they’re still parodying Children of Bodom, Finntroll, and just about anything in between, but instead of hearing a bunch of kids making a joke you hear a bunch of goblins being goblins. The immaturity is no longer in the execution; it’s encased in really solid music that, given better production value, could rival many of the very same albums it pokes and prods.

Basically, on Stench the line between a musical parody and a successful cross-genre epic metal masterpiece is very grey indeed. Yet the lyrics are just as blatantly whimsical as ever. The result is hard to swallow, because it’s so good and so bad at the same time. I imagine the spoken ending of this song is a rip on Rhapsody of Fire’s infamously lame spoken lines; it goes approximately “The humans had opened the box to torture and maim all kinds of magical creatures, but the goblins were not to be trifled with. No, not to be trifled with at all. And as the humans laid there, a pulsating mound of bone and flesh, dead and mutilated beyond all hope and reason, the goblins feasted upon their rotting corpses, filling the halls with the shrill sound of chilling laughter….. Forever!” And yet when you listen to it, beneath the cheese you get the feeling that it’s a really badass ending.

It took quite a while for me to get sufficiently passed the fact that it’s a parody to enjoy it in its own right. That was Stench’s initial impact: a part of me was left feeling like I’d been cheated out of something awesome on par with Ensiferum and Equilibrium, but the more I listened to it the more I wanted to click repeat, plant my hand firmly in the center of my face, and grin from ear to ear underneath it. At this point I can safely say I love it unconditionally.


Gallows & Graves

There’s something of a third dynamic going on here as well, and it’s what really tips the scale towards greatness. In some odd capacity this really is, well, goblin metal. If we think of them as those short, mischievous little tinkers that are a good bit like gnomes with the added plus of being spawns of Satan, you can actually hear something of this in the music. Goblins ARE both comical and evil, and while Goblin Island was too much of a joke (albeit a good one) to capture this, Stench pulls it off. Trolls and vikings and pirates have all acquired a sort of musical imagery, much of which isn’t meant to be taken entirely seriously. The idea of a goblin is a good deal less serious than all of those to begin with, and if I was going to “seriously” create a metal sound to capture them, well, Stench seems pretty on the mark. The frantic intro/chorus melody of Gallows & Graves and the kind of childish clear vocals really do call to mind some small, obnoxious, vicious little bugger hopping around your feet, and this same musical imagery reoccurs throughout Stench with a consistency that Goblin Island lacked.


A Feast

It’s really hard to talk about what Nekrogoblikon “accomplished” on this album with a straight face, but the fact of the matter is Stench is really damn good. They manage to successfully combine elements of more metal sub-genres than I can count. It’s also got the clever bonus of thematically justifying all of its potential negatives. Goblins are as obnoxious as they are evil, right, so if they’re mocking a bunch of their metal predecessors musically it’s only natural. This is goblin metal.