Bornholm - Inexorable Defiance

Some bands can take an album or two to 'settle in'. A couple of solid albums and then 'BANG!', pull off something fantastic because you tweaked things a little bit and found your 'direction' so to speak. I really get that impression from Bornholm's latest album 'Inexorable Defiance'. This is a band who has found their niche, and it works.

Still black metal, but without the grimness and coldness. This is more like five commanders of a huge viking ship setting sail into the night on an epic journey through thunderous seas to an island where they will one day rule and the lanterns in their castles will be so bright in the night, that they will be seen from space. That is the potential outcome, but lets take this for what it is now.

In a nutshell, loosely base this on pagan metal bands from say.. Finland (at least the ones that are not so cheesy). The difference here is this is serious. This is more like what Nokturnal Mortum has become through 'The Voice Of Steel' only this isn't full of lengthy songs or progressive passages.What I like is that Bornholm doesn't over do things. They time the placings of their instruments perfectly.

Tremolo riffs are there, but they don't smother. A wall of lifting fiery distortions trail along and then a tremolo will swing in from time to time. Take the lead work for instance, the acoustic passages, even the moments of disjointedness in some of the riffs. They don't shove it all down your throat in one go. They find balance and you don't get tired of any of it.

Take the synth work as well. They never make it so evident, more like a distant wave in sync with the riffs. Only in moments do they bring it to the front and just make it sound more epic. The same can be said for the vocals that basis itself on being harsh but still the moments of a clean take to add a bit of diversity and even for me, still adding a more serious and epic touch. Even the drum beats know when to keep it steady and when to flurry.

Think back to albums that breathed the real pagan spirit and place this one there. A piece of the hearts from Bathory's 'Hammerheart' and 'Twilight Of The Gods' but made to their own perfection. Well done and one of the surprises of the year..

Ikil

Darkthrone - The Underground Resistance

The prime example of longevity in black metal, Darkthrone keeps marching on while the rest finished or just have gone quiet. The key for Darkthrone has got to be the reinvention they take with every few albums. Now Darkthrone takes it a step further in a more traditional sense with 'The Underground Resistance'. Once again, they show how it should be done.

The distinct Darkthrone feel is still there of course. The trashy production, the sick and dirty sound in Nocturno Culto's vocals. Those waves of raw distortion and those punchy drum beats. This time, crust is not the backbone, more like an old demo of 80s speed/thrash and heavy metal takes, but so damn good! And as usual, the riffs are in total command. They always know how to write a good catchy riff, simple or not, they always find a way to etch it in your mind. Even repeat the riffs like they do in 'Come Warfare, The Entire Doom' and 'Leave No Cross Unturned' and it never gets boring because it sounds so good.

But even this time, they feel more epic as the songs mentioned above will show you. But take the main melodic riff of 'Valkyrie' for example. I never thought Darkthrone would write a song that would likely have an entire audience humming along if they played live. Those lifting dual leads of 'The Ones You Leave Behind'. Even those echoing and screaming solos just work so well.

I have to say, I am beginning to like the songs that Fenriz does the vocals on more than the Nocturno ones. He just has this distinct feel to his vocals. It is not anything brilliant, but for this sound, it just works. I mean, his vocals on 'Valkyrie' would be laughable if it was anyone else, but he just has this force and absolutely no shame in how he sounds that it just makes the songs cool. I really like them on there and 'Leave No Cross Unturned'.

When you look at the directions Darkthrone take with their sound, it is interesting the way they are evolving. They took their style back 15 years about seven years ago with a more crust approach. Now they are taking their style back around 25 to 30 years  with speed, thrash and traditional metal and still evolving and sounding fresh. All this while a number of black metal bands still try to emulate their sound and style from 20 years ago and don't match up. Yep, Darkthrone still are the True Kings of Norway..

Ikil

Ghost - Infestissumam

When the likes of The Devil's Blood and Ghost came on the scene a few years ago, one thing that caught my attention was their accessible sound. Honestly, if they were from the states and didn't sing about the occult, they would be BIG, plain and simple. Ghost would sign with a major label which was no surprise to me in the end but as discussed with a good friend last night, they have the image that will boost their popularity even further. The perfect package deal. The new album, 'Infestissumam' was certainly going to be an interesting offering just to see how the band would manage their new found stardom.

Well now, after hearing this several times, the evidence is clear. Ghost has gone from seeming like a small cult with 'Opus Eponymous' to a global occult empire with 'Infestissumam'. Hillsong better be careful because their arch nemesis has finally arrived. Just hear 'Year Zero' with its HUGE epic chorus and chanting and you can just imagine Papa Emeritus II lifting the entire stadium as one. It is the rising of something incredible.

'Opus...', as awesome as it is, practically becomes one dimensional compared to this. 'Infestissumam' is as daring as a pop album (yes, I said it.. POP) can get, and hell, does it pay off! Only minor elements of the eerie bounce from 'Opus...' remain here in the forms of 'Per Aspera Ad Inferi', 'Jigolo Har Megiddo' and 'Idolatrine' and 'Depths Of Satan's Eyes'. All great and catchy and even in an eerie way, feeling joyous towards Lucifer. But the real winners of the songs are the ones that meander, but so gloriously.

'Secular Haze' would be the perfect song to brainwash a circus full of clowns, acrobats and lion tamers into joining Ghost's new found gathering. 'Monstrance Clock', with its lifting chorus and endearing soar would lure any fan of real pop music from the 60s into their evil embrace and 'Ghuleh / Zombie Queen'? Well, that just might be the best thing they have ever done. With its hazing synths and eerie leads, it will hypnotize all the housewives while ironing their childrens school clothes with its dark, but beautiful ballad beginning before whisking them away into their dark lair when the pace arrives and the 'The moon is full, and shines an evil blinding light' line comes in.

In the end, this has been brilliantly done. Enough catch and simple song structure to lure the feeble minds to todays pop fan in and enough 'experimentation' in these structures to keep the fans from the beginning (the smart ones) intrigued. This is certain to pay off in an enormous way.

I think back to when I went to a Catholic High School and the ignorant ones referred to heavy metal (more the mainstream ones mind you) as 'Devil Worshiping Music'... Well, here is the New Wave Of 'Devil Worshiping' Music, only there is nothing heavy or metal about this one...

Ikil

Enforcer - Death By Fire

In 2010, Enforcer blew me away with 'Diamonds'. An album full of memorable and catchy riffs, great vocal moments with many memorable lines and each song was classic. Not to mention so reminiscent of the 80s. With such an amazing albums comes great expectation for their latest album, 'Death By Fire'. Again, an impressive effort.

What catches my intention right away with this album is how 'different' it is to 'Diamonds'. It is still Enforcer of course but a much rawer, much speedier version this time around. On 'Diamonds', it was dominated by twin leads and far more melodic. On 'Death By Fire', speeding riffs tends to dominate more (eg: 'Death Rides This Night' and 'Run For Your Life'). That isn't to say the former is missing as songs like 'Take Me Out Of This Nightmare' and 'Silent Hour / The Conjuration' carries that formula. Again, the riffs catch on and the lead work in sync with the bass lines brings classic Maiden to mind at times.

Olof's vocals have more force this time around. 'Diamonds' showed a much more melodic side and much more note carrying. This time the delivery is quick and sharp and the note carrying isn't much of a prime player. The song titles dominate the chorus lines making them even more memorable as well. My favourite moment thought would have to be on 'Sacrificed' where it is a great mix of the two styles.

Production wise, 'Diamonds' was clean. It had to be. It was far more melodic. 'Death By Fire' is raw. 'Diamonds' sounded like a classic album from an 80s band that made it big. 'Death By Fire' has that slight graze in the sound that makes it sound like an underground classic album from the 80s from a band that was too raw and too dark  in atmosphere to make it big. I prefer it this way anyway.

When ever I write about a Swedish band, I always write about how they can capture any sound from any period and make it sound perfect. Of all these bands, Enforcer is leading the way for me. Again, a wonderfully executed album that keeps the past relevant and fresh for all the right reasons. Superb.

Ikil

Kvelertak - Meir

The debut Kvelertak album was out of this world. It really was. It is still one of the best albums I have ever heard, I would even go as far as saying it is in my top 10 albums of all time. Sure, you are reading this and thinking 'bullshit', but this isn't about what others would rate it. This is how I rate. I listened to that album in my car, at home, just about anywhere, every day for about a month. That is how fucking good it is.

Now the follow up, 'Meir', is here. No doubt the expectation is gargantuan and in a way, that is going to hurt this album. I have taken the fair approach here and didn't set my expectations too high, because quite frankly, it would be near impossible to equal or better the debut album. Anyone expecting that, well, you set the bar too high.

To address that matter straight away, well, 'Meir' is no where as good as the debut. It is probably a little over half as good. But consider how BRILLIANT the debut was and that might give you some idea how 'Meir' fits in. It is still an exceptional album, following on from the debut but perhaps not as daring and not as mixing of all the elements from then.

The three core styles from the debut are here on 'Meir', rock, hardcore and those shades of black metal. The small doom/stoner moments of the debut are gone. That is a little disappointing to these ears but there are still enough chops and changes in the songs, plenty of catchy riffs  and melodies and perhaps more shades of black metal this time around that I am still very impressed.

And sure, when I say black metal, I don't mean a feeling of coldness, grimness and so forth. The tremolo riffing (eg: 'Trepan') or blasting (eg: 'Spring fa livet' and 'Snilepisk') brings the black metal to mind, only this is more like laying out a welcome mat to someone curious about black metal. One who stands on the outside of the forest under a sweltering summer sun before stepping into the forest and realizing they have been deceived as they discover it is all really cold, black and grim. I would even say the vocals are much dirtier this time around. Those snarls are sick!

There is still so much energy executed on 'Meir', it is so distinctly done too. Like one huge fist with great strike power. It is fierce! You can really feel the venom in a song like 'Snilepisk' and 'Nekrokosmos' for example. So much tearing away at things. What Kvelertak also manages to craft really well are those rock like 'anthems'. Listen to songs like 'Evig vrandrar' or 'Kvelertak' and imagine the response they would get from a packed stadium. No doubt they would have the crowd roaring 'Kvelertak' during the encore.

Sure, there is plenty of blasting, plenty of wicked lead work mixed with sharp tremolo riffing, catchy rocking riffs and walls of distortion but where it is unpredictable is you just don't know when things are going to change up. Listen to 'Nekrokosmos' or 'Tordenbrak' and there will be moments there where you think 'well I didn't see that coming...'.

Overall, on its own, 'Meir' is fantastic. Really, you couldn't come up with a better follow up. No doubt they will be catapulted even higher to stardom with this and understandably so. Not much more can be said.

Ikil

Looking Back: Dissection - Reinkaos

Instead of writing about something new, lets look at something from the past. Dissection's 'Reinkaos' album. An album that at its time probably wasn't given the proper acknowledgment it deserved but when hearing it today, I appreciate it and enjoy it much more.

The year was 2006. The anticipation of the new Dissection album had been growing for a couple of years since Jon Nodtveidt had been released from prison. I remember a friend and I talking about his release in 2004 and believing that the new Dissection album would be one that would be full of so much hatred and brutality given what we read about his treatment during his trial and how angry he was because of it. Then we heard 'Maha Kali' and our expectations quickly changed. Instead of hatred and evil, we were hearing something much more positive, galloping and upbeat. Quite unusual. I wasn't going to give up on my expectations just yet however.

When 'Reinkaos' did arrive, I was very surprised. Gone was the frost and windy atmosphere of 'Storm Of The Light's Bane' and 'The Somberlain'. Gone was the evil and blistering paced riffs and the sorrowful and distinctive melodies. Yes, ten years is a long time between albums, but this Dissection didn't sound anything like the one of old. It was not to say I disliked the album, I did enjoy a few songs, but overall I was quick to put it away.

Production wise, things just sounded too clear. The riffs felt like they had a quick stutter to them, like there was no general flow. Where I sensed an atmosphere that was black, the problem was, it felt like this album had no life. Like being in a pitch black room with not a trace of air to breathe. For a melodic death metal album though, this was as dark as a melodic death metal album could get.

Okay, enough of the criticism. The point of this write up is, when I look back at this album now, I have found myself appreciating it much more. Instead of a feeling of sorrow and evil like the first two albums. 'Reinkaos' is more upbeat and carries with it a sense of pride and triumph. Instead of making their occult beliefs seem evil, they actually make them seem cool and they are proud of it. You sense that in the chants, and in Jon's voice. You hear a song like 'Black Dragon' and 'Dark Mother Divine', even 'Maha Kali' and they present the themes so gloriously. Christianity might tell you all that this is evil, but one who actually knows about the beliefs knows that that isn't the case.

The melodies have energy and soar and do have a powerful sense to them which proves that sense of pride for their beliefs further. I would have like more tremolo riffs but whatever, this was a new direction. The only thing that I find really lacks on this album is the atmosphere. There is just none of that 'background noise' being carried with this music. I am not saying that it needed that cold feel but it needed something to make the album feel 'epic' or 'proud' because that seems to be the way they were trying to present this album. For me, the production just felt lifeless.

In the end, some would argue where to place Dissection between melodic death metal and black metal. Before this, I saw them more as a black metal band but through 'Reinkaos', they made more sense. Dissection were always a melodic death band, only their sound and themes were much darker than everyone else around them at the time. Even further, maybe too distinctive to really define. What helps make a classic. Even when you hear 'Reinkaos' today, ask yourself, what melodic death metal band has done an album just like that?

Ikil
 

Angantyr - Forvist

There has always been something about Angantyr for me. Not that he is one of my favourite black metal bands, I wouldn't even say top 10. But when you hear his stuff, that old school feeling always is present. His works are always enjoyable. I was disappointed with 'Svig' but with 'Forvist', this is exactly what made me such a fan of Angantyr in the first place.

'Forvist' reminds me a lot of 'Haevn'. A big sound, like a thunder storm going along with the battle ships through the seas. This big sound brings back that epic feel that was missing on 'Svig'. 'Svig' was flat. 'Forvist' sounds huge. Dark but carrying great pride and strength the way the riffs gallop and pace along.

I always like how nothing is technical, just good riffs and enough in the passages to keep it interesting considering their length. Just take a song like 'I Forfædres Fodspor' for example the way the walls of distortion gallop along in sync with the tremolos and the drum patterns will just tread along before breaking out into blistering speeds. It is like a sudden gust of cold wind rips through the sea. Even if the conditions are fierce, the troops on their ships are fearless and have great confidence in making it to the shore.

Even with the vocals, Ynleborgaz just has the perfect sound and feel. Cold and harsh and thanks to the big sound, you can really feel the energy, almost barbaric. None of this deep tone stuff you hear from some of todays black metal vocalists which for me removes that cold and harsh atmosphere of the early days.

With a lot of todays black metal bands opting for over the top production and over theatrics. Angantyr produces another album embodying the old spirit and showing how it should be done. Nothing wrong with theatrics, but I will always enjoy this true dark, cold and harsh atmosphere more.

Ikil