English translations · Feature article (p. 170) and album review (p. 99)
By Jonathan Jancsary
Not every path leads straight to its goal. Sometimes it is precisely the detours and unexpected encounters that allow an artistic identity to emerge. For Flight of Odin there could hardly be a more fitting album title than I Traveled the Crooked Path. On their double album the American band unites different phases of their history and combines melancholic doom metal with progressive rock, psychedelic soundscapes and mystical symbolism. At the centre stands a creative partnership that has existed since the 1990s — and whose musical journey is far from over.
For singer and lyricist Xyra the title’s crooked path has a personal meaning: “The title describes a journey through human consciousness that, depending on the listener’s perception, can be general or personal. Most of us follow a crooked path full of trials and difficulties to get where we want to go — especially those who question prescribed goals.”
One inspiration was the book Silent As the Trees, which deals with old witchcraft traditions in Devon, England. Added to that was an experience at Tintagel Castle, the legendary setting of the Arthurian legend. In a cave associated with the wizard Merlin, Xyra found a stone she has since called her “Merlin Stone.” This connection of mythology, individual experience and psychological introspection also shapes the songwriting. Xyra writes her lyrics predominantly as a stream of consciousness before the other musicians develop the compositions together. Keyboardist and bassist Andrew explains: “Usually she sits alone with a poem she has written, underlines the vocal melodies with an acoustic guitar, records the song on her iPhone and passes it on to the band. From that develops whatever develops, while the melody and hopefully also the feeling that Xyra originally expressed remain. The mood is important.”
What is remarkable is how much personal vulnerability lies behind Xyra’s sometimes theatrical singing. Her musical roots go back to childhood, when she became enthusiastic about music theatre. Later she also worked as a radio presenter and music journalist. The emotional power of her texts remains even when the delivery becomes more dramatic.
Andrew continues: “Finally, as places for recording and mixing, we produce the music of Flight of Odin ourselves. We no longer release our music with the thought that it has to be commercially acceptable; we regard our project as an art form.”
A further developmental step came in 2024 with the arrival of guitarist Tyler Beddow. His progressive and psychedelic playing style enabled the band to shift their orientation more clearly towards doom metal. “When Tyler joined, we were amazed how perfectly he fitted in and at the same time gave the band his own unmistakable signature,” says Xyra. Andrew adds: “Because Tyler has so many surprising ideas, we often let him lead us in directions we might not previously have thought possible.” How open this creative process is is shown by the eleven-minute “Séance of Hecate.” The piece arose from a riff by Kenny, to which Xyra spontaneously developed a text and a vocal melody. Its various sections unfold almost like the acts of an opera — an approach that inspired the singer to the idea of an elaborately staged doom-metal opera.
That I Traveled the Crooked Path appears as a double album is also connected with the band’s history. While the first CD presents the current lineup, the second contains three newly mastered tracks from the 2024 digitally released EP Goddess in Smoke. Xyra wanted thereby to give the then collaborators and their contributions greater attention. Despite different lineups, Andrew recognises in it a largely unchanged musical identity that has been developed more consistently towards doom metal through Tyler.
Perhaps that is precisely what is special about Flight of Odin: the musicians do not regard their past as a closed story, but as part of an ongoing creative process. Xyra, at any rate, is already thinking of the next big goal: “We are happy about where we have arrived with the new release. But I am sure that we will continue to develop with every new idea. I would wish that this path leads us to a place where we can realise our idea of a doom-metal opera — and perhaps one day perform it at the Royal Albert Hall.”
11 points
Anyone who thinks of pagan metal at the name Flight of Odin is in for quite a surprise. Instead of Nordic battle romanticism there is an extended trip through melancholic psychedelic landscapes, somewhere between stoner rock, doom and dreamy 1970s sounds. Imagine a cross between Avatarium, The Gathering, Pink Floyd and The Devil’s Blood — if those four names can be brought under one roof at all. The result is in any case extraordinarily atmospheric! Especially the expressive frontwoman gives the often sluggish compositions an emotional depth, while the instrumental section gladly indulges its playing pleasure at length. The wonderful solo in “You Can’t Stop Me Now” speaks volumes in this regard. Overall, Flight of Odin are not particularly in a hurry. “The Ravens’ Eyes” develops almost ghostly qualities thanks to its eerie piano passages, while elsewhere acoustic guitars gently lead into the pieces. At least “Goddess in Smoke” with its livelier, almost danceable rhythms ensures that one still rises from the comfortable hippie carpet now and then. Three tracks, by the way, come from the earlier EP Goddess in Smoke and were newly mastered for this release. All of this is arranged in extremely good taste and is thoroughly enjoyable, though it does demand a certain preference for decelerated sound journeys. Especially as the musical formula reveals itself relatively quickly and only reveals limited new facets in the further course. A beautiful, wonderfully melancholic record that a little more variety would have helped to truly great enthusiasm. (JJ)
Translations for reference. Original German text © Legacy Magazin.