What We Leave Behind

Brymir's 'What We Leave Behind' is a formidable piece of construction that manages to navigate the treacherous waters between symphonic ambition and melodic death metal weight. In a genre often prone to indulgent, over-the-top production that muffles the actual musicality, this collection stands out by grounding its ethereal flourishes in punishing, rhythm-focused muscle. It is a polished, cohesive effort that earns its high marks through disciplined songwriting rather than excessive cinematic fluff.

From the opening movement, 'Slaying Star', the production is crisp enough to let the low-end breathe without turning into a muddy sludge. The transition into 'Sleipnir' establishes the primary dynamic: the marriage of folk instrumentation with a punishing death metal backbone. The riffs are not merely present; they are deliberate. They provide a rhythmic skeletal structure that allows the symphonic layers to sit atop the mix like ornaments on a fortress, rather than becoming a distracting fog.

A masterclass in pacing, avoiding the trap of empty grandiosity to deliver visceral, folk-infused carnage.

Where many folk metal acts fail, they lean too heavily on the 'folk' to mask mediocre metal. Brymir avoids this pitfall entirely. 'Tempestbound' is an excellent example of pacing. The tempo remains driving and purposeful, ensuring that the symphonic elements elevate the tension rather than dissipating it. The drumming is particularly noteworthy here; it is tight, punchy, and serves as the heartbeat of the record, avoiding the common mistake of drowning in the reverb of the orchestral components.

'What We Leave Behind' serves as a cinematic anchor for the album's mid-section. It is a weighty, atmospheric piece that feels earned. The title track carries a sense of gravity, but it doesn't devolve into the aimless wandering that plagues similar and melodic-leaning ventures. The transitions are sharp, and the shifts in dynamic are handled with a deft touch, ensuring the listener never feels lost in a sea of strings.

'True Darkness' brings a heavier, more suffocating atmosphere to the proceedings. It is here that the melodic death metal influence becomes most palpable. The riffs are jagged and authoritative, providing a necessary contrast to the more airy, folk-driven movements. The production ensures that the grit of the guitars cuts through the mix with precision. It is a lean, mean piece of metal that prioritises impact over decoration.

Following the instrumental 'Moment of Silence', the album gathers pace. 'Buried Legion' and 'The Roaring King' are masterclasses in construction. The former builds momentum through rhythmic repetition, while the latter showcases a grander scale without falling into the trap of empty grandiosity. The symphonic elements feel woven into the musical DNA, not stitched on at the final hour. It is a sophisticated approach to the genre's aesthetic requirements.

The final stretch, 'Broken Dawn' and 'How Much Is the Fish', maintains a high level of intensity. The former is a bruising closer that rewards the listener's patience with a blistering finale. The closing track serves as a thematic punctuation mark. The entire record clocks in at over forty minutes, which is a sweet spot for this sub-genre; it provides enough depth to inhabit the atmosphere without overstaying its welcome through filler.

Overall, 'What We Leave Behind' is a highly disciplined work. Napalm has delivered a record where the folk elements provide the atmosphere, but the death metal and symphonic structures provide the bone and muscle. It is an impressive achievement in balance, delivering a cohesive, punishing, and aesthetically rich experience that demands respect from the listener.