Although this is the Mongolian folk-metal band’s fifth album, it is their debut for Metal Blade Records and the first to gain a global release. Formed by vocalist/guitarist Askhan Avagchuud in 2010 in the autonomous region of Inner Mongolia in China, he has been the only constant as they have built their fanbase. As with countrymates The Hu they combine metal with traditional Mongolian instruments, utilizing both conventional vocals and Mongolian throat singing. Guitars, bass, and drums collide with indigenous string instruments, including the balalaika, morin khuur (horsehead fiddle) and tovshuur (a traditional two- or three-stringed plucked lute). There are times when it feels very Chinese indeed, and even when the metal is full force these guys refuse to compromise their heritage.
Apparently Askhan grew up listening to the Big Four, nu metal and European bands like In Flames and Children of Bodom, and he deliberately melds these influences with tradition to create something which is seamless, bringing together many different styles onto something which makes a lot of sense. I am a huge fan of The Hu but find Nine Treasures are actually more diverse and enjoyable to play as while they can hit very hard indeed, they sometimes move more into pure folk to the listener is never sure what is coming next. They are somehow hugely experimental, massively complex, traditional and commercial all at the same time, which is quite some achievement. The coming together of the different styles all makes sense, and there is no tension between them as it is fully formed as opposed to a folk band playing some metal or a metal band just trying to be different. One can tell this band play many gigs each year and are used to being in front of large crowds, and one can only hope they make at least as much impact in the western music scene as their countrymen. Definitely worth investigating. 8/10
By Kev Rowland
