Poison Ruïn: A Medieval Revolution
The concept of time travel has long captivated audiences, and the idea of a modern American transported to medieval England is a classic literary trope. Mark Twain's A Connecticut Yankee in King Arthur's Court introduced this theme in 1889, and it has since permeated various forms of media, from children's adventure books to films like Army of Darkness and Black Knight. These stories often explore the stark contrast between the technological advancements of the modern era and the medieval period, highlighting the perceived gulf between the two.
However, Poison Ruïn, a Philadelphia-based punk band, takes a unique approach to this theme. They see more similarities than differences, especially for those at the bottom of the feudal system. The band's early recordings were an anonymous, no-fi anarcho-punk project, with founding member Mac Kennedy donning chainmail and singing about the plight of the medieval peasantry. This medieval aesthetic, as Kennedy calls it 'sword for sword's sake', has evolved into a powerful tool for making pointed societal critiques.
On their second album, Hymns From the Hills, Kennedy offers a perspective beyond the castle walls. The title track expresses solidarity with those 'dropped off and discarded at the borders on this land', while 'Eidolon' conveys a sense of fear and foreboding, with Kennedy's lyrics alluding to the malice that lurks in the shadows of endless plains. This album showcases Kennedy's ability to walk the fine line between his aestheticism and his desire to make a statement.
Musically, Poison Ruïn has evolved significantly since their early days. Hymns From the Hills is a dark, begrimed tapestry that weaves together a variety of heavy music influences. The album opens with a crackling synth intro, followed by the catchy and forthright melodies of 'Lily of the Valley'. This track features a simple, repeated riff, a bouncy keyboard line, and impassioned clean singing from Kennedy. The title track adds harmonica and acoustic guitar, creating a folk-punkish sound, while 'Howls From the Citadel' has a mellotron-like quality, reminiscent of a side-long prog epic by Genesis or Rush.
One of the most impressive aspects of the album is the full-force integration of black metal. The opening 30 seconds of 'The Standoff' showcase Kennedy and drummer Allen Chapman's mastery of tremolo riffing and blastbeats, evoking the raw energy of Immortal's Pure Holocaust. This embrace of a bigger sound feels like a breakthrough, adding a sense of grandeur to Poison Ruïn's medieval aesthetic.
In conclusion, Poison Ruïn's Hymns From the Hills is a captivating album that seamlessly blends medieval imagery with a diverse range of musical influences. Kennedy's lyrics and musical choices create a powerful commentary on societal issues, while the band's evolution showcases their artistic growth. This album is a testament to the band's ability to challenge conventions and offer a fresh perspective on a well-worn literary trope.
