Metal maniacs, rejoice! I am proud to present to you: NYTT LAND; independently unsigned, hailing from Russian grounds - performing Dark Epic Folk/Shamanic/Experimental/Electronic/World/Country on their 5th album entitled: "Cvlt" (released 24th of March, 2020).

Since formation in 2014; the duo in question have 5 Studio Albums in their discography so far, their self-titled album (released December 31st, 2014); "Hávamál" (released July 18th, 2015), "Sköpun: Songs from Elder Edda" (released April 6th, 2016); "Fimbulvinter" (released February 6th, 2017), "ODAL" (released March 28th, 2018), and this here 5th record that I am introduced to entitled: "Cvlt". 12 tracks ranging at around 55:81; NYTT LAND arrange an intricately designed formula of Dark Epic Folk/Shamanic/Experimental/Electronic/World/Country amalgamations.

"Valhalla Rising" begins the record; right off the bat, immediately reminding me to make sure to carry on watching the show Vikings from where I left off.. opening up with gong like beats and high-pitched vocals/throat singing... NYTT LAND implements an intriguing visionary of ambiently driven atmospheres where more than anything, they supply a harmonious element of this uniquely versatile vehemence of ritualistic bizarro. Eerily detailing a haunting aesthetic in which wails with chanting finesse, dynamic virtuosity & quintessential melodies that meticulously manifests this outrageous slab of ominous yet wild vibe. Nothing too extreme for the metal universe here; but here is an impressive maelstrom of primitively raw experimental diversity... fuelling a hybrid conjuring however, of trippy soundscapes with sometimes groovy executions. Consisting of Anatoly "Nordman" Pakhalenko on vocals/throat singing/the tagelharpa/percussion/keys/programming/mixing... this talented frontman excels at a grandiose grandure of profusely robust synergies that organically showcase a borderline foundation of throaty singing substance, making use of the zestful variety of instrumental calamities like the tagelharpa...injecting an amplified injection of boisterous bounciness & gnarly distortion in a clean but sulphurously stimulating process. While "Song Of The Kazym Goddess" embellishes an enriching outrè of panache & soulful singing technicalities, founding a fluidly polished sophistication of melodious remedies that jump with slick vibrato patterns. The percussion is frantically thrilling with rambunctiously ambitious hymns in which wonder with punchy precision, while persevering with persistently progressive tendencies that trigger this mystifyingly upbeat performance that mesmerizes you into a trance to harness a dance of your own creation.

"Rígsþula" begins with this poetic verse until demonstrating electronica-fused acoustics, assailing this joint jamboree of salubriously detailed craftsmanship abilities, where the keys distil an immersively gripping fret of almost guitar-like majesty. This tribal momentum rollicks with resonating solace, indulging in a volatile yet sublime merger of snarly raspiness & vibrantly potent quirkiness oscillating with this murky production while revolved around a crisp but crystal clear evolution of empowering imagination. "Ar Hotan Imi" (featuring Tuomas Rounakari on violin) beings again with more throaty roars until otherworldly musicianship transforms into a dissonant outburst of distinctively distinguished enlightenments, culminating dark epic folk with shamanic roots in a hullabaloo of unprecedented yet eccentric dose of healthy but heavenly havoc. The violin is hastily shredded, skillfully resulting with this quantum boundary in which provides this seamlessly sonic yet riveting rhythm as I advance into an intense but addictive frenzy in the next song "Seven Spirits In White Coats". This one brilliant contrasts an imaginary ensemble to party with the warriors of steel after a relentlessly malevolent battle, drinking with your brothers in arms into the night... until you pass out! "Pusel Ov Aki's Song" is another foreboding yet menacing tale, this religious lore inventively brims a choir-like story to tell while smothering this sinister but calming tone to it. Natasha "Krauka" Pakhalenko flows with more mellifluously euphonic hums and heightened singing...while tapping on the frame-drum for a more magnetically magnificent flair of hypnotised fabrications. Also grinding along with this jew-harp in which revels with this bobbing exuberance, and energetic tongue techniques which shrouds with this thudding whistling that's refreshingly beautiful as well as pleasing to the ear.

"Niðavellir" carries on the vast range of musicalities NYTT LAND relishingly offers; establishing a merrily rich ramification of prodegiously prestigious nordic songwriting styles that unleashes this monolithic artistry, authentically enabling a piqued overwhelming that can interest those who are in need of that feel-good overarch of vivid yet surging presence of looming love and gloomy dominance. "Sólarljóð" venomously solidifies more catchy and adventurously unorthodox milestones that remarkably sound stormy while staying proficently dazzling...forging a chunky characteristic of wacky yet thunderously goofy symphonics that are most reverberately out of this world. "Sigrdriva Spel" spellbinds with more unusual traits, making use of the tin whistle and aforementioned content in a consistent but kind of melancholic way while still staying ravenously zealous with this sanguine yet optimistic potential. "Sortunut ääni" introduces a guest appearance from Jonne Järvelä; who portrays this meaty representation of wicked lungs that subjugate this raising sharpness of rough pipes which meanders through the twisty silver-lining of spirituality & enthusiastically stark orchestration. "Hanum" is a short 1:54 interlude (featuring with yet another guest vocalist Evdokia Moldanova; who yells with screaming shrieks with yet stunning premise) which stems as a brief break from the moving yet exploratory avant-garde spectrum of the Valhalla landscape... before overall concluding "CVLT" with the finishing epic: "Song Of The Goddess Keeper" (featuring another guest rendition vocal performer from Mario "Scream" Arkhipova, examining another splendid praise of singing shine); I am compelled to say that this record was indeed a breath of fresh air but incredibly expected, and predictably wonderful...though on the contrary, I found nothing spectacularly rewarding or replayable as it just seemed to be like an alluring experience for spirituality sake. Not that that is a bad concept as ethereally linear as it can be, but it's a discovery that rockers & metalheads will question why this kind of sub-genre is relevant to the metal world at all.

If you're looking for an embracing but enjoyable kick of systematically original but hard-working styles of constructively and evolvingly complex music, NYTT LAND most definitely deserve a listen or two.