Rosa Faenskap - Ingenting forblir (2026) Review

When did contemporary Norwegian black metal shift from corpse-painted despotism to more reflexive frameworks? Rosa Faenskap's sophomore album Ingenting forblir (= nothing endures) challenges the country's sonic tradition while not completely abandoning it, in what is a continuum of dark hardcore / post-black metal with a distinct Nordic genealogy. Having been oblivious of the trio's debut Jeg blir til deg (2023), I grappled with the record without knowing what to expect, which certainly wasn't this hybridization of tremolo worship, clean guitar diffusion and temporal undulation that consistently draws from multiple stylistic reservoirs (doom, prog, post-rock, punk) even with pure black metal as the anchor of its formalism.

Opening piece "Den svake mannen" is the instructive example of the band's methodology, tinkering shoegaze-like guitar lines on a path that gradually moves in heavier doom / black metal aggression. Some of the most characteristic Norwegian outcries can be found on the first notes of "Faenskap for alltid" (and later, also on "Bygg til himmelen", but of course not exclusively), but they never overstay their welcome. Punk-inflected vocals and abrupt tempo shifts, frequently switching with more layered post-rock breaks, felt to me like Rosa Faenskap consciously attempts to re-situate black metal within the family tree of radical underground music, and maybe wash some of the stain away.

The album's concept truly is the hottest punchline here. Where's the misanthropy, where's the pagan romanticism or the glorification of death? The band's intensity of expression has political concerns, with lyrics about social injustice and rising hatred, environmental worry and queer liberation. This alone will stir the pot enough for Ingenting forblir to be discussed, but it's engaging enough from a musicological perspective to grant at least the basic level of acknowledgement. Momentum of hardcore-boosted black metal across instances of ambient, almost cosmic interludes on "La barna leve" and "Klarhet i kaos" keeps the attention and never lets the dance between genres to quiet down.

One of my favorite moments on the album is the gloomy acoustic guitar introduction of "Famler i hatet", as well as the continuation in tormenting, mostly middle-paced speed and howling vocals, which randomly reminded me of another track by the Danish dark hardcore band Église, named "Have I Become Hell". Possibly not related anywhere else except my brain, but they do fit in the same playlist. Ingenting forblir covers an emotional range from despair to optimism, most notably in the almost ten-minute closing track "Jeg våkner snart", where the band accumulates all the rhythm and distortion it can to finish things off in a form of cleansing. It's one of the most demanding pieces but flows nicely, as does the whole of the record.

Apart from the elephant in the room, which will not be commented further, this is how experimentation and unrest can result in an album's benefit. Rosa Faenskap's musical multiplicity lifts them above the average blackgaze atmospheric wash. It gets its hands dirty when it needs to despite the apparent eclecticism meant to scare off black metal's bad boys. Some changes did feel a bit sudden, and some softer instances stretched, but the excitement doesn't reduce when listening to it. I could say, as exciting as hearing what people would have to say about it. 

Release: March 6th, 2026 | Fysisk Format
Rating: 3.5 out of 5

  

Covenant - In Times Before the Light

Covenant were wise to change their name into The Kovenant to separate the time they were unique and beautiful with the time they went completely off the rails. 

I can't believe they also went on to pick this fine piece of work and slaughter its soul in 2002 with that horrendous re-recording. 

Apart from that, one of the most amazing symphonic black metal albums from Norway and maybe generally, full of memorable tracks and great production exactly to fit its time and the perfect medieval cover. 

Possibly overlooked, it's one of the classics of the late 90's and there's a few more around there that you might have also missed. [4.5/5]

Tracklist:

1. Towards the Crown of Nights

2. Dragonstorms

3. The Dark Conquest

4. From the Storm of Shadows

5. Night of the Blackwinds

6. The Chasm

7. Visions of a Lost Kingdom

8. Through the Eyes of the Raven

9. In Times Before the Light

10. Monarch of the Mighty Darkness

Perished - Seid

On today's episode of old Norwegian black metal you might have missed even when you thought you had listened to everything, the host's suggestion looks into a lesser known band with not a lot of releases but a hell of a lot of wit. 

Perished from Hommelvik, only put two full length albums out, a couple of demos and a couple of neat EPs, with Seid being the final but most complete work. In the vein of early Enslaved, Gehenna and Hades, there's even distant death metal riffs sometimes and a good dose of folk / pagan parts.

By members of Bloodthorn, Wurdulak, musicians who played in the band later found spots in other bands after Perished broke up, doing live sessions for the likes of Ragnarok and Whoredom Rife. 

LP re-release of Seid soon on Dusktone, as it has been out of print for about a decade.

Track listing:

1. Storm of Fall Delight

2. Dance of the Elves

3. On Wings of Desire

4. As Water Turns to Ice

5. Forged to Bloodshed

6. Departure of Cosmic Union

7. Untouched by Mortal Life

8. Burning Heart of Ice

Dødheimsgard - Black Medium Current (2023) Review

Extraordinary, avantgarde post-modernism undulating between inconceivable boundaries, Norway's Dødheimsgard unveil their latest labyrinthine construction Black Medium Current after the monumental previous work A Umbra Omega from 2015. With terrifically unique musicians and an astonishing trajectory over the last 30 years, the band presents a record that is strongly personal and rightfully so, awfully multi-layered. Expertise and sophistication shines through, it's guaranteed you haven't heard anything like this before except from the band itself and it's one of the cases of a piece that deserves the term "experimental" in a very wholesome manner. 

Black Medium Current clocks at 1 hour and 9 minutes, about the same duration like A Umbra Omega, so it constitutes another hefty chapter in Dødheimsgard’s discography, that needs its time for the dust to settle once a first session is through. Uncommon becomes common with this band’s music, and the listener is trained to not be thrown off balance by anything that comes their way, as it’s a the general order of things that you don’t know what’s around the corner with Black Medium Current. At the same time, the record makes it easier to draw comparisons with other subgenres, something highly unusual for Dødheimsgard. 

Opening with the highlight “Et Smelter”, which has a handful of different sections that are all wonderful and sets an almost post-black metal tone (apart from the wacky ending), the same tempo continues on the second track “Tankespinnerens Smerte”. The first really turbulent moment of the album is at the end of third track “Interstellar Nexus” and especially its connection to the almost 80’s sensuous clean guitar, middle-paced introduction of “It Does Not Follow”. 

A clearer black metal direction is found at “Set Tomme Kalde More” which is to me, another highlight. Less interesting to me were the slower moments, especially in tracks like “Hallow” and “Abyss Perihelion Transit”, and the piano segments “Voyager” and the final track “Requiem Aeternum” are excellent, but in both cases vocals on top were really unnecessary. In a way, Black Medium Current feels a bit less otherworldly than previous material of the band, but that’s only because previous material has been extremely otherworldly. 

I can never say Dødheimsgard surpassed themselves with this record, but it is packed, interesting and full of twists and turns. Since A Umbra Omega’s contained inspiration and particularity is unparalleled, one should rather approach this as a completely new body.

Out on April 14th, 2023 | Peaceville Records

DAMAGE: 3.5/5 [Great]

Mork - Dypet (2023) Review

Two years ago, it was with Katedralen that I got a bit more convinced that Mork can actually meet its reputation. It has been a band with professionalism that shines through the building, all the right imagery properly placed almost like cancelling the genre’s original spontaneity, which is the reason for their success but also the source of my slight hesitation especially with a set of moderate releases between 2013 and 2019. However, Katedralen’s gripping material indicated that the band looked slightly further than just being another Norwegian black metal band and explored, in their way, fresh directions. 

While this should not mislead the reader that Mork actually experiments towards something completely new, yet they have started to incorporate small sounds, little elements as well as a more personal compositional structure for that record, as well as the newest work Dypet. It is by no means the fiercest or coldest black metal album out of their territories, instead it mostly employs expressive, poignant melodies, it takes its time by setting basic layers and building upon them with beautiful guitar riffs, bass lines and distinctive shrieked vocals. 

The artwork, as the music, is still colourless, but Mork have grown to be a rather easy to listen black metal band. The tracks in Dypet are fairly accessible but at the same time not boring, and with such a smoothened production, this record can stand as an example of what black metal is, in a discussion with an audience that is not actually seasoned in the genre, and an entry level release before diving into bands of a more violent nature. 

Highlights include the moving riffs of “Bortgang”, the accompanying clean vocals in “Svik” and “Hoye Murer” that features Hjelvik of Kvelertak. Exquisite details form the introductions of “Forfort av kulden” and the closing track “Tillbake til opprinelsen”, but Mork are smart enough to use just a few seconds for them before going on.  Their heavier side can be found in the more ominous piece “Avskum” but that’s about it, I would generally like the band to have an overall more assertive presence with Dypet, as all instruments feel like holding back a bit, especially the drumming. Nevertheless, it is clear that it is what Mork intended and they have several assets to show that make the record worth listening to and owning, especially looking at this cover.

Out on March 24th, 2023 | Peaceville Records

DAMAGE: 3.5/5 [Great]

Enslaved - Heimdal (2023) Review

The previous decade mostly had me hooked with Enslaved and all of their recent records, maybe except the admittedly quite solid Utgard in 2018, which was received warmly by the fans despite my own final verdict. All of the band’s works have a lot to discover when engaging with them, and while the same goes with the latest offering Heimdal, it is also a quick eye catcher regardless. The familiar blend of black metal, 70’s progressive rock and slight psychedelia, still resonates all across this album, but they gratefully cater heavier and more unconventional (even jazzy) patterns here and there, showing the everlasting calibre of the band. 

Grutle’s vocal work is impeccable, with excellent clean voice parts in chorus-like sections or in forms of narration, and powerful screams when the tracks dictate so. The gallery of melodies in Heimdal is vast, taking trips to prog directions through the lens of the band and not the genre, with a rhythmic complexity that is apparent but still easy to comprehend and enjoy as the album unfolds. 

Enslaved also employ little recurring elements in the compositions, like the use of synth keys in a few instances especially in “Forest Dweller”, which features keyboards similar to “The Sacred Son” from the album E and texture-like synth sounds similar to “Forsaken” from the album RIITIIR. 

The band’s more combative nature lies in parts of “Kingdom”, which also has instant attention grabbing guitar work in the introduction, the wondrous and intriguing highlight “Mongolia” and in “Caravan to the Outer Worlds” and towards the end of “The Eternal Sea”. Heimdal opens with the sound of water flowing, and a deep sounding horn, executed Eilif Gundersen from Wardruna, which ensures everyone of us that these guys are real vikings. Even though that opening track “Behind the Mirror” would be on the less aggressive side of Heimdal, it sets the tone perfectly as a starter and sets the foundation of this wondrous album. 

Enslaved still marches forward after thirty years of activity in the scene, with a firm background and interesting innovative touches that would attract metal and non-metal fans alike. Heimdal’s musical quality is indisputable, what’s left is only for the listener to appreciate it.

DAMAGE: 4.75/5 [Brilliant]

Release date: 03 Mar 2023

Release label: Nuclear Blast

Listen: Bandcamp

Funeral Harvest - Redemptio (2022) Review

Funeral Harvest remain on the same path they started on with 2020's self-titled EP, which showcases a disciplined band with traditional inclinations and adequate music. Debut full length Redemptio is merely half an hour long but makes its case, and it is as elegant as the band itself, with a wonderful cover and catered production, a healthy use of Latin text and naturally a vibrant Satanic element. While certainly not aiming to sound strictly old school, the toolset in practice is stripped down to the basics and constitutes to what is imperative for memorability. The band's origins are also apparent, as Funeral Harvest reproduce the work as it would be described in a textbook and fit well to their time period, they are not ones for looking back but not that much forward either. The album is short and with barely enough variation and two distinct, dark ambient texture pieces as an intro / outro and interlude (in "Soli Ego Gloria"), yet it makes it case with rather solid material. While listening to Redemptio however, sometimes it feels that urges are repressed to an extent, or that the record's sound doesn't allow it to hit as hard as it could. Several tracks faintly give this feeling, even when the band phenomenally ostensibly plays heavier, like for example in the first piece "Fire Sermon" or "Womb of Snakes". On the other hand, "Principum Et Finis" (with a high pitched short scream in the beginning that could hint Mercyful Fate) is a banger, and there is generally no part in Redemptio that is shaky. With more potent expression, Funeral Harvest have the skills and the potential for greatness, and their elegant debut should be an instantaneous listen for people into the current wave of Norwegian black metal and not only. In an already good spot, I think this band should beef up and not hold back on the aggressiveness in future material, so that what is achievable can be achieved. [3.5/5 - Great]

Darkthrone - Astral Fortress (2022) Review

A fairly quick continuation to last year's Eternal Hails..., Darkthrone's new record Astral Fortress is a piece of the same bread. Loaded with an organic sound, traditional heavy / doom metal is wholly embraced once again through the characteristic lens of the band, which is their own but still stubbornly bowing to the ways of the primordial metal. There is no colourful, plagiarised artwork this time, yet it is now something much closer to the real life of the band members and reminiscent of the choice made in Arctic Thunder when it comes to a cover piece. While often advertising a return to black metal practices for several of their recent albums, I fail to hear it and the records don't exert such a vibe at all anymore, but it did put a smirk in my face listening to the middle paced, cold riffs of the closing track "Eon", which give a hint in that direction a bit. Other than that, "Kolbotn, West of the Vast Forests" stands as an unusual interlude for some of its non-symmetric melodies and further from these points, the rest of Astral Fortress is business as usual for Darkthrone. They can still produce a lot of flavourful, old school heavy riffing sequences, the acoustic guitar / synth usage is slight but detectable and the album comes forth as what it is, a nice snapshot of the current state of the band. The structure of the tracks is wonderful, moving from fast to slow and to really slow melodic parts, Nocturno Culto's raspy vocals fit like cherries on cake and the overall production feels natural, as is the band itself. It's great to see that the two share basically all positions in creating the album, from songwriting to execution, and for someone with such longevity, Darkthrone still have some inspiration left. The material is not ground breaking, but the fans will love it, and there might be something for everyone. At the core though, are the 80's. I found the album more consistent than Eternal Hails... to some extent, but these two are siblings. [3/5 - Good]

Dimmu Borgir - Death Cult Armageddon (2003) Review

The turn of the millenium saw Dimmu Borgir going with orchestral elements, clean production and pumped epicness, full bore. What was originally some murky symphonic black metal elements in the early 90's had now turned into ambitious, grandiose compositions of the most polished sound possible, polarising the fans of the genre and standing even today as one of the most loved / hated bands throughout the years. The first thing to notice about Death Cult Armageddon is how much effort was not put in the cover art (even though the previous album's Puritanical Euphoric Misanthropia choice, was decent...), which looks like something something one could make with the most generic editing software, using the most generic fonts possible. Apart from that, Dimmu Borgir kept on from where they had left two years earlier when it comes to music and lyrical content. For the latter, most of the texts in Death Cult Armageddon are quite decent, and all lyricists involved (mainly Silenoz & less, Shagrath) write well. As it was proven later when the band collaborated with the Norwegian National Orchestra, some tracks here and especially "Progenies of the Great Apocalypse" are characteristics of their modern era and are generally solid tracks, appropriate of their own worth. As the track is in the first half of the record, it is part of the better material in Death Cult Armageddon, as later on tracks get really bland and boring, really fast (from "Blood Hunger Doctrine" and on). However, when a riff gets in the spotlight, it does sound great and the combination of symphonic instruments and guitars is great, all the instruments are audible and the combination of vocalists has always been, in my opinion, a positive element of Dimmu Borgir. Death Cult Armageddon has clear weaker points and a couple of filler tracks, yet also a few moments of quality from the band and despite their musical directions, they are all solid musicians. [2.5/5 - Average]

Origin: Norway

Label: Nuclear Blast

Release date: 08.09.2003

Listen: Spotify

Darvaza - Ascending Into Perdition (2022) Review

Band: Darvaza

Country: Italy / Norway

Album: Ascending Into Perdition

Label: Terratur Possessions

Website: Facebook

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This release has been highly anticipated. I have waited and hanged on for a full length release from this project for half a decade now, especially after getting more and more into their first three EPs. And the fact that they made such a mark with them from the very beginning shows what kind of band we are talking about, one that had laid the groundwork for a debut way after it was established in the scene, creating this feeling of desire to the fans, including me. Every time I went back to The Silver Chalice or The Downward Descent, I would think "but really, where is the full length from these guys?" and keep waiting. 

And by guys, I don't really mean your common black metal musicians. For people unaware of Darvaza, this band is a duo consisting of these two individuals: vocalist Wraath, who has been an active member of Celestial Bloodshed during their time of prime, as well as singing for One Tail, One Head and has also played - among others - in Mare, Fides Inversa and Behexen. The instruments are handled from Omega, one of the most infamous drummers of the last twenty years, who started playing in Handful of Hate back in the late 90's, and since has been drumming for Acherontas, Frostmoon Eclipse, also Fides Inversa, he was involved in Macabre Omen's debut The Ancient Returns in 2005, he has played in Moloch for several years and in Chaos Invocation / Blut Aus Nord for a couple of albums, not to mention that he was part of the supergroup Martröð (a project that will have you shiver when you see its line up, even though the resulting EP may not have lived up to its expectations).

And now, that the Italian and Norwegian counterparts of Darvaza have been explained, there's no question the two members have been rather busy but still maintained activity with this project, which could explain the absence of more material until now, yet I don't think they would rather feel the need to rush things for any external reason. Nevertheless, I have always yearned for an actual full release under this name and it has finally taken form in this 43 minute opus, named Ascending Into Perdition. And thankfully, it continues the habits of the previous smaller releases very closely: worn out black / gray art, simplistic design, and admirable music. Much like before, Darvaza goes hard with dry and as organic as possible sound, like an unfiltered spirit straight from the cask in the cellar.

Ascending Into Perdition has something I am always after in black metal, and it makes everything shine brighter right off the bat: sincerity. Listening to the album, you probably won't find unbelievably heavy, technical or new parts, the guitar lines are plain direct and quite melodic, as it is mostly focused on a lot of middle-paced playing, and when it gets faster it is not out of heaviness but to reinforce the black curtain the band lays with their material. In this way, they don't need to be too loud, every riff is wonderful, the drumming is excellent and the bass also has its moments, the raspy vocals undergo a lot of variety and the compositions as a whole are well thought and well executed. Darvaza don't want to impress anyone because they don't need this kind of validation, and Ascending Into Perdition is an ultimate, pure example of this forbearance for pretentiousness.

Such intentions are manifested in the whole of the record, as for instance in "The Spear and the Tumult". Opening with a fast paced but moderate and repetitive section, the atmosphere sets as Darvaza plays on with simple in design but highly efficient guitar lines and excellent vocal work, which makes the 8 minutes of duration of this track feel like nothing. Equally prominent is "Mouth of the Dragon" for the same reasons, as more and more guitar textures unfold and the album fully sets in, consisting only of this kind of indirectly dominant content. The lyrics are mostly understandable and, heavily into the occult, darkness and satanism, are just a pleasure to listen to coming from an honest source like Darvaza. Interesting lines are featured in "This Hungry Triumphant Darkness", where the band picks up an otherwise played war metal line before entering a more rock-ish part in the middle of the song, which combines some of the heavier moments of the album and some of the mildest, at the same time.

The ending part of Ascending Into Perdition is the real highlight of the release. "The Second Woe" starts off with slow drums and introduces its assertive semi-DSBM guitar melodies as well as harsh vocals immediately, with a chilling turn towards the middle and closure of the track. In an album full of high quality pieces, that track stood out for me for all the reasons I like Darvaza and their composing stance. An equally amazing orchestral introduction opens the final tune "Silence In Heaven", which is the longest number in Ascending Into Perdition and a bliss to listen to from start to finish, as it features all the band's elements at full force. In many ways, this record is more forceful than many extreme metal releases out there that rely purely on playing in the most frenzied manner possible, as if the listener will get spooked by the noise. Here is a truly powerful release.

After 2018, any time was a good time for a Darvaza full length album. With Ascending Into Perdition, they leave me satisfied with some of their most complete material to date and finally a discrete point where you can refer to when listening to them, it only took four years as it seems but I will be listening to the record repeatedly for a long time now, just because of how easy it makes it for you. There is no unnecessary complication in this release, while it still doesn't compromise for a second and it's not here to bullshit you with useless adornments. Straight to the point, Darvaza confirm their quality and ensure that our waiting was not for nothing.

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Release date: February 4th, 2022

Tracklist:

1. Mother of Harlots 

2. The Spear and the Tumult

3. Mouth of the Dragon

4. This Hungry Triumphant Darkness

5. The Second Woe

6. Silence in Heaven

Listen:

Bandcamp | TIDAL

Whoredom Rife - Winds of Wrath (2021) Review

Genre: Black Metal

Location: Trondheim, Norway

Release date: 15.11.2021

Label: Terratur Possessions

Listen: Bandcamp

Website: Instagram

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The first two Whoredom Rife albums were released with only short in-between period in 2017 and 2018, but the band has been busy with a few smaller scale releases since then before putting their third full length together. Apart from the split with Taake, two EPs that include, among a lot of acoustics, a Manes cover, show how much ingrained the band is to its scene and especially its origin. I can't say I didn't enjoy their first steps, as both Dommedagskvad and Nid - Hymner av hat have a load of great moments in them, but I wasn't bought by the rest of their material, so I had to be in the waiting for the next record.

And as far as it seems, once again they come along extremely photogenic. These covers are just a pleasure to watch, there's no grimness but only apocalyptic beauty in the designs, which goes along with the crystal clear sound Whoredom Rife maintains from the beginning. Winds of Wrath is also the first title, apart from the self-titled first EP in 2016, that has an English title, even though the band usually chooses Norwegian & English for the songs themselves, a tradition that is kept with this release as well. If I haven't given enough key words already, Winds of Wrath is all you imagine it to be and quite efficient as well. Whoredom Rife are good with heaviness, fast-paced ferocity with solid injections of melodies and a few background synths for the atmosphere.

Nothing less that a fine example of modern Norwegian black metal, this record almost feels too professional. Everything works properly and it's been designed to quench your thirst for this music. If we somehow agree that this accessibility has turned this genre to a walk in the park compared to a narrow path between a cliff and a mountain that it once was, Winds of Wrath is well-made but not so dangerous art, at least to the ears of the seasoned black metaller. Maybe I have this wrong impression of this kind of Scandinavian black metal now, yet I have always enjoyed an album that doesn't ruin it, and Winds of Wrath certainly doesn't.

Therefore, Whoredom Rife's strongpoint, as it has always been, is the melodic variety in their albums. The epic element is always present, and they frequently speed up to more intense parts, all of them nicely flowing into each other. I can't get into these vocals, to me they sound too distorted or with too much studio effect, yet the main body of work is on point. I'm afraid Winds of Wrath's case will be the same as the previous two albums, a great listen but never gets memorable. Yet for today, it's a solid record.

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Tracklist:

1. Curse of the Moon

2. A Thousand Graves Endured

3. Gospel of Hate

4. Hav av Sykdoms Blod

5. Winds of Wrath

6. Einride

Damage: 3.5/5 [Great]

Gaahls Wyrd - The Humming Mountain (EP, 2021) Review

Genre: Black Metal

Location: Bergen, Norway

Release date: 05.11.2021

Label: Season of Mist

Listen: Bandcamp

Website: Instagram

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I have always found interest in following Gaahl's activities in the scene and outside of it, as one of the most iconic figures of this music. While not all his endeavors are my cup of tea, I certainly have favorites and enjoyed this project's debut GastiR - Ghosts Invited, quite a lot two years ago. I made sure not to listen to any promotional track before going into their new EP, The Humming Mountain, either. While at first thinking that it was in fact a second full length album, in turn this mini-release left me with mixed feelings and unsure whether I personally dig the effort, even if it's aesthetically and musically well within acceptable levels. 

Clean vocals are chosen almost completely this time, for the whole release. Gaahl's voice is one of the most prominent in black metal and the outcome doesn't lose in emotion or quality, yet I can't deny that I would have loved a harsher voice, especially in the faster parts of the album. With that in mind, The Humming Mountain contains a few chunks of interesting content, but it's also stalling a considerable much as well. Some compositions are holding back and at the same time, over dragged in duration, keeping mellow melodies but ultimately no serious impact. This is the case for both the nine-minute opener "The Seed" and the self-titled track.

Then, "The Dwell" and "Awakening Remains - Before Leaving" represent the other part of the coin for The Humming Mountain. Significantly speedier tempos, cutting black metal riffs with a nice atmosphere, but still no shrieked vocals, very much in the spirit of Gaahls Wyrd and what they have been doing the last few years. These two songs, while not incredibly extravagant, might have the listener nodding for a bit and could be appreciated for more variety as well as more potent melodies. Unfortunately, closing "The Sleep" is even emptier than how The Humming Mountain starts, and it had me wondering why it's there and who couldn't think of abstract clean guitar echoing tricks like that.

While the EP has clear highlights, it also has some fairly clear weak points. The more passionate fans of Gaahls Wyrd will still appreciate The Humming Mountain, but it's quite clearly an understatement compared to the wonderful debut of the band. I believe more focus will be put in a second album if it ever comes. I kind of see this as what Windswept represents in the Drudkh universe, even if it's a wild analogy. Despite the bitter tongue of this text, Gaahls Wyrd is exactly how Gaahl's art should be manifested, in my opinion.

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Tracklist:

1. The Seed

2. The Humming Mountain

3. The Dwell

4. Awakening Remains - Before Leaving

5. The Sleep

Damage: 2.5/5 [Average]

Darkthrone - Eternal Hails...... (2021) Review

In January this year, Darkthrone's debut Soulside Journey turned 30 years old. While its sound did not resemble what the band would get known for later on, it has made its mark as the full length starting point of quite possibly, the most influential name in black metal. And what is impressive about them is not just the fact that they have maintained the same path since then, it is the case of rather "stubborn" idiosyncrasy when it comes to musical approach. By thinking of their 70's and 80's influences, even if they have had different turns in their style, Darkthrone have really not changed at all till day one. Think of how many bands went astray, or had big changes of heart, or got lost in the ages, while Fenriz and Nocturno Cult kept on paddling. And even if there are clear weak points in their gargantuan discography, a listening course is also a course of this music's history.

While I have not been totally into their punk phase in the 00's, I frequently spent time listening to their albums of the previous decade and especially 2013's The Underground Resistance, which has heavy metal that I have found to enjoy more than a lot of such material out there. I appreciated Arctic Thunder and its camping photograph cover (even though it's not as memorable) and happily bought Old Star from Bergen when I visited the city, parts of it being reminiscent of a little bit of a more intense "black metal" sound that was not there for a long time. All in all, Darkthrone have honed the old school heavy / doom / black / speed metal recipe into the mainstream and through personal playing style as dedicated fans, but not as copycats. With all that said, what is there to listen to from yet another release? How can they succeed in catching the attention once again? As numerous releases, re-releases, countless compilations after compilations, rare pieces in all formats have proven, Darkthrone have reached the state where it doesn't matter what they release, as the fanbase and its roots are stronger. By now, this logo is the black metal equivalent of The Ramones t-shirts in global clothing chain stores.

By the time Eternal Hails...... was announced, first thing to notice is the cover. I am not used to them not using their own artwork, and especially to pick a work that has been used many times before in underground metal, most notably within 90's black metal itself and the Greek band Zephyrous, who also picked the same art. The original piece is named "Pluto and Charon" by David A. Hardy, dates back to 1972, which in turn could have been inspired by a very similar photo from an expedition in the Arctic from the beginning of the previous century). Of course, I could make an easy guess if I were asked which of the two bands asked for copyright permissions to use it for their album, but this picture shares some truth on such topics.

The aspect that you will never take away from this band, is its organic sound. How natural everything sounds is like it was recorded in a much earlier time when technology was still not so invasive to the musical instrument. Eternal Hails...... is a pleasure to listen to from that perspective, just to appreciate the raw and authentic sound of Darkthrone, and also of metal. On its own it doesn't make the record great, but it has always been something to appreciate and probably will not change in the future either, a word that might be unknown to the project anyway. There are five songs in the record that run a bit longer than usual, as the shortest one is above the seven minute mark, and Darkthrone exercise all their prowess on slower heavy / doom tactics. The only surprising part of Eternal Hails......, is by far the last composition "Lost Arcane City of Uppakra", which refers to an archaic Swedish city of the same name (more accurately, Uppåkra), an interesting piece of history with traditional anti-Christian lyrics in case you have missed them. The song's middle part and ending sees the band experimenting a bit with cleaner guitars and background synths that create a space-like feeling (justifying the cover), something I would never expect from Darkthrone but here we are. 

Other than that, Eternal Hails...... is business as usual. After several listens, I noticed it grew a bit more than what I thought of it in an initial listen, but by now I can't help but think that a new Darkthrone album is like a new Motörhead, with a slight twist here and there. I'm sure the fans and the band are more than delighted with such a statement (why change a winning team) but to get more specific about this record, I did find a lot of parts of it just not as hard hitting as expected. The riffs are there, the raspy vocals are present, the melodies reek of the old school, yet Eternal Hails...... feels like it holds back and is going into levels of predictability that would make it music to leave playing, and not to focus on. It's regular Darkthrone. I heard a lot more filthy, traditional doom in the slower parts of the record, but this time, the band doesn't punch as hard. It doesn't seem like an effortless work on their part, but often the tracks are dragged more than need to reach these high durations, constituting in pieces with fine moments in between dull instances. Honestly, I can imagine older fans, who have been following the genre closely for many years, discarding this as mediocre very quickly. 

As a person who didn't grow up as this band grew up, I haven't been let down by them as much as I have been blown away. By now, I follow Darkthrone from a distance so if most of the music in the album is enjoyable, then it passes the mark. Eternal Hails...... is a slight let down compared to their previous record and not one I will be re-listening a lot, but there's surely something to mention for parts of its music, as a hint of a new idea from them (not innovative, but from the same, aforementioned influences they have). "Wake of the Awakened" and "His Master's Voice" are tracks I liked almost whole, and the rest of it is just nice Darkthrone tunes, worthy to have a known Chernobyl meme attached to them. 

Damage: 3/5 [Good]

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Funeral Harvest - Funeral Harvest (EP, 2020) Review

When looking at a line-up consisting of members from Italy and Norway, especially in the territory of religious themed black metal, it's difficult not to immediately think of Darvaza. Funeral Harvest is the first EP of a band that has been active only since 2016 and has just a demo and a single released before this mini-album, which makes it their biggest work for now and also the first main stop point in the hopefully, more to come.

Thematics close to the aforementioned band are being stressed here as well, as it seems Funeral Harvest aim for the same aesthetics with a hefty inclination towards the use of Latin, I can only imagine that they would perfectly fit in black metal festivals along bands with a ceremonial stage presence. The EP contains four tracks at a duration of almost twenty minutes, common compositions to the band's first demo Bunker Ritual Rehearsal, reworked for this release. Naturally, this translates to a slightly cleared up production, making Funeral Harvest easy to approach and follow.

Comparing with the demo recordings, I get the feeling that part of the intensity has been lost along the way, as the sound the band had in 2017, with the same tracks, did come out as more intimidating than the mixing of the latest EP. It would be a lost case to claim that Funeral Harvest have not been meticulous with their effort now, yet it's a release that wouldn't be a big musical challenge for someone who follows this kind of black metal. Apparently, Signal Rex will host the band's debut full length too, and I am hoping the band pushes forth a bit towards taking more risks in order to stand out.

Looking into the tracks specifically, the different parts of "O.S.N.D.S.P.T." make it an entertaining track, the opening "Nihil Sub Sole Novum" displays great technique on changing between slow and fast paced moments, while "Omega" on the other hand has guitar lines that are a bit more indifferent. "Sacred Dagger" is another solid track, and the raspy, scourging vocals are saving plus for the whole release. I would enjoy Funeral Harvest to use the proficiency they have in adapting a style, and be in overall, more intense. It's definitely a band that can do it. 

Mayhem - Daemon (2019) Review

Origin: Norway
Label: Century Media Records
Release: October 25th, 2019

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When the first single was released for the promotion of Daemon, it very quickly became the talk of the town. The black metal scene went frantic over the fact that Mayhem were actually orbiting very close to the musical patterns of their most famous album, and also most groundbreaking for the whole genre, De Mysteriis Dom Sathanas. As a few tracks were released one by one, it was clear that the band had decided to honor their grandiose debut with a similar minded record, and that new turn would definitely raise the eyebrows of everyone that ever had an interest in black metal.

It is very hard to compare albums of eras that different, and also no matter how diverse the mindset of any black metaller, it is wholly more or less agreed that Mayhem’s first album is literally untouchable, but it is also 100% accurate to say that Daemon draws steps in the same path in its every aspect. The band hadn’t won me the last decade, neither with Ordo ad Chao nor with Esoteric Warfare, albums that featured the modern Mayhem sound but weren’t as memorable as their material from the nineties, yet they earned my respect as unique parts of their discography. In fact, something sounding like De Mysteriis… was completely out of the question in my head, which had Daemon strike like a lightning on me but on a fair part of the scene as well.

The album has the same line up as in Esoteric Warfare, while the production was done by no other than Necromorbus, featuring artwork by Daniel Valeriani, a piece that might be my favorite cover they have ever had so far. The building up worked in the band’s favor, and ought to have the listener press play in a totally welcoming position, ready to go through the experience as if we all remember the first day. Ghosts from the past will be constantly dancing around while Daemon is playing, especially in pieces like “Malum”, “Aeon Daemonium” and “Worthless Abominations Destroyed”, where the resemblance is striking, but in general the record’s sound is as clean and powerful as 2019 allows.

Attila’s vocals are wonderful, since he offers his whole range of growls and insane high-pitched screams, the bass work is equally wonderful and audible throughout the whole process, but the hardest hitter is the guitar work. The guitar riffs of are pure gold, a glorious collection of melodies out of the most intimidating form Mayhem ever had, they are relentless and will not let go of the album’s grip up until the end. It is very hard to feel bad about an album like that, from one of the originators of this style, executed so powerfully.

One can only wonder about the motivation behind this choice of the musicians, who manifest a sound that will please as many fans as possible (me included), whether that was a product of artistic inspiration or a combination of that and the pressure of the world for them to give up on their new material from the last records and go back to something the public wants them to do. That would be a compromise difficult to forgive, especially coming from Mayhem, and I would perhaps give it a bit more weight if Daemon didn’t deliver, but it totally does. I loved listening to it and I will be repeating it for a long time, as this record is by no means a sad replica of De Mysteriis…, its merit directly stems from the talent of its members to produce exactly that. If we are talking about a case of fan service, it still is the best fan service I have ever had.

All the tracks are top-notch, brutal and aggressive, the musicianship is at its highest, and frankly this is what, in my point of view, Mayhem represents. It is compositionally potent and packed with awesome guitar lines, which makes it hard to ignore and a total pleasure to listen. . Listen to “Bad Blood” and tell me you were not moved by its intensity.

It is understandable that it needs to be promoted as such, with 51-year old Necrobutcher going out and saying he was also meaning to kill Euronymous back in the day, a statement that is giving out only weird feelings. We have not recovered from the movie still, now come interviews like that, all of this is really unnecessary and could have been avoided. The music speaks for itself, and Daemon is spectacular. All of the chit chat around it, even if it comes from the band itself, is just noises. You could replay this album for forty times in a row and still you wouldn’t mind. Focus on the content itself and you’ll be convinced. 

Mortem - Ravnsvart (2019) Review

Origin: Norway

Label: Peaceville Records

Release: September 27th, 2019

If the name Mortem doesn’t ring a bell to you when thinking about bands from the early Norwegian extreme metal scene, maybe it’s high time you went back to your history books, because this somewhat unknown act was a vital piece of the scene’s growth. Formed in 1987 by Marius Vold and Steinar Johnsen, who you might know as the mastermind behind Arcturus, their first demo “Slow Death” in 1989 featured gnarling death metal, during a time when the Norwegian black metal scene was still in a boiling, amorphous state. Mortem’s demo was produced by Euronymous and its artwork was drawn by Dead, which classifies it as a true and rare gem buried by time, since Mortem never got to release anything else. Until now. 

The act has reformed and among many bands that come back to life from the nineties, this was possibly the bigger surprise for me. The stellar line up does involve the Arcturus mainman Steinar, Marius Vold, the bassist of 1349 and Pantheon I, Seidemann, and the legendary Hellhammer himself. If the previous pieces of history and these musicians don’t get you hooked, I don’t know what will. “Ravnsvart” has wisely chosen its aesthetics close to their original material, since they haven’t changed their logo from back then, and also the art of the album seems like it is simply pencil drawn, definitely preferred to a possible digital design for this specific occasion. However, the musical content of the record is absolutely 2019 material, with a clean production and clear but cutting sound, it is well produced and has a healthy dynamic range. Speaking for the sound only, it was one of the most pleasing releases I’ve listened to recently and flows like a charm, showing the massive experience of the members involved. 

The Arcturian spirit is strong and present all over “Ravnsvart”, especially in the guitar lines and the background synths, which are constantly coming and going. It maintains harsh vocals, which makes the result come out as the uglier, younger brother of Arcturus, a reasonable situation considering the composer behind its creation. As a whole, Mortem reminds of Arcturus a lot and it should share its fans, yet the first band is just an ounce heavier. The album starts and hits hard with the self-titled, and highlight track, which spews the burning guitar riffs, vocals and synths in full blast, it was still the track I remembered even after the record ended. Middle paced pieces of course exist and rely a lot on the keyboards (e.g. the last two tracks), but the intensity doesn’t wear off completely anywhere (great is the track “Blood Horizon” too). 

I can’t say “Ravnsvart” is completely void of fillers, as parts of some tracks felt a bit underwhelming compositionally, and that is more apparent in the middle / ending part of “Mørkets Monolitter”, however these moments are rare, hopefully. In total, this record will feed all the nerds of the Norwegian black metal scene with a great treat, it is enjoyable to listen to and a solid addition to a collection of new releases by beloved Norwegian musicians. Until the new Deathtrip album is out, and in case you need a harder fix than Arcturus, this is for you.

Seven harmonies of unknown truths

Artist: Ildjarn

Genre: Black Metal

Origin: Norway

Year: 1992 (2003)

Label: Independent (Eisenwald)

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This was another piece I got from the visit to Helsinki recently, among a couple of other things that I might write about later on. 

I own very few records by Ildjarn, since I don't have a large collection anyway due to lack of determinism. The other album being a split with Hate Forest from 2013, I figured out later on that it's Nidhogg tracks not even recorded by him, so this is what I have from actually Ildjarn. 

Seven Harmonies of Unknown Truths has the second best release title after the monumental Strength and Anger, and it's one of the very first demos by the artist. Of course, I have the reissue by Eisenwald, which was officially licenced by Ildjarn so it's not a bootleg or something. 

The liner notes inform the listener that this was "originally released as a demo tape in 1992 by Ildjarn and sold exclusively at Helvete record store". Metal Archives says there were only 25 tapes too.

The CD's package is one of the most beautiful ones I have ever bought, it has amazing designs by Tern, a great poster drawing by Marthe, it's minimalistic and pitch black as it should. There are extra vocals by Samoth, let's see if you can pick them up.

This version of the demo has the structure of eight tracks and not seven as in the original demo, because the first has been split into two parts. There are also names other than "-" for them, basically being the version that can be found here.

I don't want to talk about its music so much because it is very meaningful, to do a whole article around all of his music, with a playlist of the best and worst tracks. Ildjarn had moments of greatness and mediocrity, but I consider this project a genius like no other in the Norwegian scene. If someone is the embodiment of what the genre is all about, it's him. His attitude towards the music and life is the actual real meaning of a word that is ridiculed by fans and not fans alike today, "true".

The back cover here has a whole text split in seven parts, probably referring to each track, and a story is told all together. I don't want to write passages from this to urge you to find this release and buy it, but there is a bone-chilling message that gives life to cliche words like misanthropy and hate for mankind. 

There has been many different facets of music in his discography, I believe his first steps do not depict the glory of later material. Most of Seven Harmonies of Unknown Truths is middle-paced and based on repetitive riffs, and that's enough.

Remember that very few artists have managed to create such a powerful atmosphere with a handful of notes only. I'm thanking this German label for putting this together and I hope more black metal was like this. Away from the spotlight for real, not sharing, isolated, cold, noisy, mesmerizing. 

A bigger series of posts might come for Ildjarn. I have parts of his music that I consider unreal, and others that don't deliver. A small part of the black metal community considers this the best black metal artist ever, and while I don't completely agree, I love it how he isn't mentioned in any major listings, articles etc...

Track listing:

1. Harmony I

2. Harmony II

3. Harmony III

4. Harmony IV

5. Harmony V

6. Harmony VI

7. Harmony VII

8. Death Dynamics

9. Harmony I (Remix)

10. Harmony II (Remix)

11. Harmony III (Remix)

12. Harmony IV (Remix)

13. Harmony V (Remix)

14. Harmony VI (Remix)

15. Harmony VII (Remix)

16. Death Dynamics (Remix)

A Norwegian Black Metal Playlist - 90's Part I

I would usually make an album list for this but for once, I chose specific favorite tracks to support the case instead of whole records. I try to maintain one track by each band when it's not a specific band's playlist, which means of course I have more tracks but the artists I like that I didn't use here. Many of them are personal choices of some of my favorite tunes, so if anything's missing, it's not that I might have ignored or overseen it. I wanted to create a Spotify playlist but some tracks were missing so I decided just to list Youtube links to each track, for anyone to have a quick listen. I have a second part of a similar playlist and then a third installment for bands active after 2000, I don't know when I will write things up about them in the future though.

Gorgoroth - Incipit Satan (2000) Review

Album | Incipit Satan
Country | Norway
Genre | Black Metal
Label | Nuclear Blast

Incipit Satan is one of the most popular Gorgoroth albums and has helped a lot to their worldwide and permanent exposure all these years, as a follow-up of a great legacy and a couple of wrong turns, to be fair. This fifth full length by the band was released at the dawn of the new millenia and it's the first to feature almighty Gaahl as a ful ltime vocalist, as well as the insertion of King ov Hell, or simply King, to the bass. The album is dedicated to Grim, or Erik Brødreskift, (their drummer in Under the Sign of Hell and The Tormentor EP) who had died a year before from drug overdose.

Gorgoroth had shown signs of attraction to the industrial sample noise a bit in their bland album Destroyer, which was released in 1998. One could guess that a logical continuation of the band would be to attach these sounds fully to their music and while they didn't exactly do it, Incipit Satan has the industrial element a little more strongly. The opening, self-titled track has such a part, as well as the second "A World to Win", even though their main body is basically quite grinding. "Will To Power" is fully instrumental and very close to what one would call dark ambient / noise / industrial, having a minimal and sweet feel.

The record features clean vocals by both Infernus and Gaahl. The fifth track "An Excerpt of X" was completely composed by Infernus and he does a certain type of a narrating voice, in a composition where his sorrowful middle-paced style, is naturally dominating. There are well known lines in that track, used as a bridge between the attacking "Unchain my Heart" and the primitive "Ein Eim Av Blod Og Helvetesild". Gaahl sings in clean voice on "Litani til Satan" which and "When Love Rages Wild in My Heart", both of them being very easy listening and almost rock sounded in some moments.

With their second effort in the roster of Nuclear Blast, the band has managed to clean their production into a sterile and acceptable sound, making them even more harmless. Slowly and fully stepping into the mainstream, with Incipit Satan they became the band everyone can deal with, losing their once personal spirit and distinction from the rest of the scene. Even the track titles "Unchain My Heart" and "When Love Rages Wild In My Heart" suggest a soft and naive emotional approach and had me laughing the first time I read them. Still, I believe the crazy piano intro in "Unchain My Heart" and the whole song in general, is a standout for the album.

Musically, it seems like Infernus still has the upper hand in the compositional process over King / Gaahl. I prefer it a lot over Under the Sign of Hell and Destroyer, especially in tracks like "Incipit Satan", which is more than solid. The new characteristics that were introduced by the band did not fully fall to place, even though the outcome generally works fine, maintaining a very basic point of stability. Incipit Satan doesn't deliver the same amount of rawness and hate as the name of Gorgoroth carries, it contains a couple of nice moments but nothing more than that, really. The momentum built by it's intense tracks is counterbalanced and destroyed by it's smoother side.

While I don't consider this record bad, I strongly believe that it is an average offering by the band. Nonetheless, the track "Incipit Satan" has grown to be one of Gorgoroth's trademarks and it depicts the band's style when into the spotlight, including new ideas in such a way that the fans won't possible hate them. I would prefer more ferocity and less romantic poetry from them and I can only stick to two or three tracks off the whole album, the ones I fould cool and memorable. It is by now sure that the brilliance of their first record will never be surpassed.

DAMAGE: 6/10

Gorgoroth - Destroyer, Or How to Philosophize with the Hammer (1998) Review

Album | Destroyer, Or How to Philosophize with the Hammer
Country | Norway
Genre | Black Metal
Label | Nuclear Blast Records

I'm not always against bands going very popular and I don't bash them for that single reason, still I have come to mind that Destroyer, Or How to Philosophize with the Hammer is one of the weakest moments in Gorgoroth's carreer, shattering it's potential and the possible status it should have achieved. Signing to Nuclear Blast was a first questionable deed, since they are suspected for eating artirts from the inside, even though the name of Gorgoroth had already been promoted a lot by various popular sources. After several listens, I don't know if it's as bad as Under the Sign of Hell but it undulates around that rank, without reaching very high in my interest meter, so I consider it a letdown.

A major drawback of the album is it's poor production, which characterizes it's weakness to deliver, even when the music goes through some notable moments. It creates a sterile and puzzling sound that doesn't have a healthy balance between the vocals and the instrumentation, as well as the extra keys that have been added in various tracks, which are completely buried or just glitches in seconds. Sometimes, the random growls and fast cymbal hits don't make the guitar lines recognizable at all, resulting in a black metal / noise, dreary travesty, ruining completely the outcome. This can be mistaken as a choice, something done on purpose, a message from the band of it's obscure attitude and unearthly sound, but not all noises are melodies.

Examples of the previous statement exist everywhere in the album. From the very beginning, "Destroyer" starts with a massive instrument hammering intro and the signs of a musical structure begin to show thirty seconds later, where a riff emerges from the overall randomness. It's the only track Gaahl sings to in the album and his vocals are pretty decent, especially during it's second half, even though the song itself is tiring. More random samples come along in the third track "The Devil, The Sinner And His Journey". Here, we are introduced to Frost and his great drumming style, which is also the only above average track in terms of the drums, as all the other are the typical necessity. Yet, it ends abruptly and has various key lines (played by Daimonion of Enslaved, probably) that seem like an experimentation, without fitting at all to the music.

Furthermore, the sixth track "Blodoffer" is just horrible. It's as simplistic as it can be, it has some awful sound effects behind it and disgusting retching vocals that conclude to one of the worst songs in the album. I almost thought it was a joke when I first listened to it. It's an ongoing, monotonous piece of trash. Sadly, the Darkthrone cover they did of the song "Slottet i det fjerne" should also be considered as an attempted rape, it's really bad. If I wasn't aware of the actual, I would not have cought a single riff in there, it is shadowed by the same problems of production and sound, as the rest of the album. "The Virginborn" is a slower and longer track (lasting eight minutes) which isn't much of an activity, but it's generally listenable.

On the other hand, the few legit moments of Destroyer are basically the tracks "Om Kristen Og Jødisk Tru" and "Open The Gates", which have an old-school black metal feeling, lacking the various annoying elements and keeping a good riff or two as a core. I didn't expect to like the epic clean vocals in "På Slagmark Langt Mot Nord" because I hated them in Under the Sign of Hell, but they seem to work out well here. All in all, the music in Destroyer is not at all good and it often shows or unstable songwriting. Could it be that so many people were involved in the album? The main part was written by Infernus and Tormentor, but different musicians are playing different roles in different tracks and that formula rarely works to me.

The origin of the album's title is not hard to guess, as the book Twilight of the Idols, or How One Philosophizes with a Hammer by Nietzche has the same title. It is the same fucking title. If these people were so influenced by it, at least think of your own sentence, it's not that difficult. Everyone knows how staggering huge album titles are, and they leave very few to the imagination. Gorgoroth later took the first half of the book "Twilight of the Idols" to use it in a later album in 2003, thinking that by adding another phrase it would get more original. I don't like it when bands do that and it's not a healthy influence process. Of course it has nothing to do with the music, but it does to the overall worth of the album.

In overall, I think this album does more harm than good to the image of the band, as for the artwork, the music, the line up and the subject itself. They tried new things with new people and that by definition demands more time to work compositions, so a year after the previous full length was rather a hasty and sloppy decision, to release a sloppy album. I would say Destroyer is boring and sometimes bothering to the ear.

DAMAGE: 2.25/10