ALBUM REVIEW: 150-Where The Old Gods Play Act 1 – Dun Ringill

DUN RINGILL have written a pretty ambitious record with 150-Where the Old Gods Play Act 1. Part one of a double album release over the next two years, this first instalment plays with heavy doom influences to tell their story. Not entirely conventionally, this is a concept album at heart; it tells the sinister story of the manipulation of a Scottish Parrish in early 1900, “with a priest whose secret agenda only reveals itself at the end.” With that tantalising premise, and a complex journey to tell it, DUN RINGILL have set themselves quite a challenge.

Initially, the cliché of hearing bagpipes on an album set in Scotland may induce a premature eye roll, but given its short use on opener Awakening, it’s forgivable. The mountainous thunder of folk-doom that proceeds is solid and in fairness does set the scene for the story you’re about to listen to.

It’s an interesting way to approach the idea of a concept album. By chopping it into two instalments, DUN RINGILL have forced themselves to make each song its own standalone track as much as an interwoven story. This does give greater listenability to all the songs, as well as elongating its longevity between releases; you’re not forced into listening to the whole album as one chunk to enjoy it, or to understand what’s going on. There’s a fair atmosphere in all the tracks, and they’re written in similar veins which does help with the overall flow. However, nothing feels forced into being homogenised, so overall DUN RINGILL have achieved a hard balancing act.

The Parrish is effectively told and Baptised In Fire leaves a very good impression with its scene-setting start and mesmerising central riff. It’s gritty, menacing and really good, doomy fun. Likewise, The Devil Wears A Papal Tiara is an especially captivating song, with plenty of allure and dark imagery to colour your imagination.

Nathaniels Hymn is the most folk-influenced track no question, with its many layers of strings and classic folk metal drudge. It’s the DUN RINGILL that people know and love, but it sits within the album absolutely fine. Blood Of The Lord is an almost psychedelic experience, with haunting, occult-like chanting laced throughout. However, its bombastic lead vocal performance and stomping riff makes this as theatrical as it is mystical. Its wicked final third inflects a malicious, conniving sentiment that’s very easy to settle into and revel in, along with the mysterious character of the story. Finally, The Last Supper is classic, dirge doom metal. It’s got groove, it’s stompy and a satisfying end to the first instalment of this double release, while paradoxically leaving you eager for the next instalment.

DUN RINGILL have created a well-balanced concept album in 150-Where The Old Gods Play Act 1 that manages to feel compelling as both a solid piece of work, as individual songs, and as part of a wider set of songs still to come.

Rating: 7/10

150-Where The Old Gods Play Act 1 is set for release on August 4th via The Sign Records.

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