The forthrightness of the primitive low-key blues, Rock and Heavy Metal - though near extinguished - has been ever captivating new generations of root devotees religiously sticking to the magic formula of "less is more", such as the Finnish "YMIR'S BLOOD" trio whose name subtly hints to the members "coming from the land of the ice and snow" (referring to their "Immigrant Song" compelling live arrangement, further pointing where they come from musically speaking in this context!)

Recorded in 2013, "Blood Of The Ice Giant" is the debut full-length studio by YMIR'S BLOOD, fiercely embracing the Nordic tradition concept through the belligerent-alluring lyrical song structure chiefly based on the vocal track in a thorough touch with the band's self-identification as performing the vague "Viking metal" notion. Interestingly enough, the approach at hand is to discard the complexities and the Folk-padding the latter is renowned for, in favor of revisiting the first and foremost definition of the Metal sine qua non trinity of bass, guitar and drums.

Ergo, implicating more power to the rhythm section as a such a firm pace-setter that the guitar literally submerged within a set of chord verses over and over as in "High And Mighty" in a bid to shape that epic touch - yet this is no Punk Rock tedious 4/4 for the things being. Emerges the answer in "The Chosen Slain/ We, The Bersrkr" adroitly rectifying with a real well-built sliding riff sliding, accentuated by assertive snares and crashes setting for a Doom tempo merged with a so-yearned-for 90s Rock spirit. The same mood is carried on in "To Immortal Mater Obscure" with somber chords and even more complex root notes and transition triplets unfolding into hints of groovy old school Rock alternated with the bloodthirstiness of tremolo and the more Metal palm mutes.

Backward to "High And Mighty", the murderous blasting bass and drums stacked up against somehow feeble vocals despite what potential one can spot in a flash. Indeed, placing the bet on the drums and bass counterbalanced the chance the vocalist missed to extract the best of the dramatic scale of the track. And by mentioning "potential", I mean for instance "Sworn To The Sea" on which the vocals switch to a borderline half-harsh curiously yet cunningly out of tune at some points to simulate a speech, then gradually condensing in a shift to what would have been a black metal tremolo if only interlaced with echoes or better, growls - as the singer sounded undecided on the technique on the vocal-based "Witch Beast" translated in copying the root notes without further development while actually having room to, as all instruments -guitar included - were doing awesome holding the rhythm for him, before nailing that suave lengthy solo, a definitely worthy album epilogue.

Along the "Blood Of The Ice Giant" tracks, the chief feature is certes an instrumental bundle consisting of equally represented elements swinging from mere 4-chord progressions to genuine riffs appointed by a 70s Rock vocal fashion that's been a signature in the later years of the emerge of Heavy Metal as sounding highly "adrenalined". A brilliant concept that has not been fully exploited yet, but expect the roar of the Viking Finns at any moment!