#gorgoroth — Public Fediverse posts

At their best, Dimmu Borgir exudes a wicked majesty, governing the forces of darkness with dispassionate contempt and an utter certainty in their ungodly mandate. This attitude, along with the confluence of grandeur and melodrama, defines what initially drew me to Dimmu Borgir years ago, and what has kept me interested despite the interminable gaps between releases. Since forming in 1993, Shagrath and Silenoz have consistently delivered symphonic black metal that tempers the unrelenting acrimony of second-wave black metal with wistful melodies, sculpting an extensive emotional palette. In 2000, Dimmu Borgir enlisted Old Man’s Child’s Galder as lead guitarist, and the three of them penned bewitching black metal for a quarter century. As with all good things, though, it didn’t last, and Galder departed in 2024 to focus on Old Man’s Child once more. Given the shakeup of a longtime winning formula, do Shagrath and Silenoz silence naysayers with Grand Serpent Rising, or are listeners saddled with Temu Borgir?1

As ever, Dimmu Borgir discharges extravagant theater through the lens of black metal, drenching Grand Serpent Rising in haunting atmospherics and lush orchestrations. Since Death Cult Armageddon, the incorporation of symphonic elements has steadily grown more prominent, and over the years, these Norwegians have carved out a niche that exists somewhere between Gorgoroth and Nightwish. And like Cradle of Filth, Dimmu Borgir goes for baroque, though instead of luxuriating in garish excess, they compose with nuanced sophistication. Grand Serpent Rising is the culmination of the intervening albums, with Galder’s departure pushing Dimmu Borgir to fill the void he left with more deliberate arrangements. Thankfully, Grand Serpent Rising advances what yielded success for the band over the last couple decades, dredging textural depths and honing the intricate interplays of instrumentation that didn’t reach quite far enough on Eonian.

Though Shagrath and Silenoz shoulder many of Grand Serpent Rising’s performances, a handful of guests play pivotal roles in defining one of Dimmu Borgir’s best-sounding records. Longtime session and live drummer Daray gets an immediate boost, where the drumheads’ natural timbres and resonances leap out of the mix to imbue a thunderous dimension missing from Eonian (“The Qryptfarer,” “Phantom of the Nemesis”). The orchestrations and keyboards also integrate better on Grand Serpent Rising,2 their presence is more intentional and interwoven in lieu of Galder’s nimble lead work. None of this should suggest that the guitars take a backseat, though, as Silenoz and Kjell ‘Damage’ Karlsen (Chrome Division)3 pluck and shred with conviction as songs demand (check the intro to “Repository of Divine Transmutation” and the solo in “Ascent”). The riffs and leads merit attention as well, with soaring melodies (“Slik Minnes en Alkymist”), crystalline cleans (“As Seen in the Unseen”), and trem-picked offensives emboldening the Serpent. All the while, Shagrath croaks (“Slik Minnes en Alkymist”) and croons (“Ascent”), supplying one of black metal’s least abrasive vocal styles.

Dimmu Borgir prevails throughout Grand Serpent Rising, although a few issues from previous albums linger. At sixty-nine minutes long, Grand Serpent Rising sprawls. To be fair, the album is dynamic and intricate enough that parts rarely (if ever) feel repetitive, and proceedings slither quicker than the length suggests. Yet condensing the runtime by ten minutes would improve the overarching impact and effectiveness. Compounding and confounding the duration is the complexity of Grand Serpent Rising’s arrangements—they richly reward those with the patience to fully engage for multiple listens, but present a hurdle for impatient or distracted listening. Still, while the album isn’t perfect, these complaints pale in comparison to the triumph Dimmu Burger devises on Grand Serpent Rising.

In the end, Dimmu Borgir has written an album that refines their sound rather than reinventing it. If you’ve listened to any of their recent albums and formed an opinion, Grand Serpent Rising won’t change it. Instead, it proves that Dimmu remains as skilled as ever at creating opulent symphoblack, regardless of how long it takes between albums or what crucial personnel changes they endure. Dimmu Borgir perseveres For all tid, and if you’re not wholly opposed to flamboyant black metal on principle, their latest awaits to stimulate, captivate, and ensure your Grand Serpent’s Rising.

Rating: Very Good!
DR: 6 | Format Reviewed: 256 kbps mp3
Label: Nuclear Blast Records
Websites: Website | Bandcamp | Facebook
Releases Worldwide: May 22nd, 2026

At their best, Dimmu Borgir exudes a wicked majesty, governing the forces of darkness with dispassionate contempt and an utter certainty in their ungodly mandate. This attitude, along with the confluence of grandeur and melodrama, defines what initially drew me to Dimmu Borgir years ago, and what has kept me interested despite the interminable gaps between releases. Since forming in 1993, Shagrath and Silenoz have consistently delivered symphonic black metal that tempers the unrelenting acrimony of second-wave black metal with wistful melodies, sculpting an extensive emotional palette. In 2000, Dimmu Borgir enlisted Old Man’s Child’s Galder as lead guitarist, and the three of them penned bewitching black metal for a quarter century. As with all good things, though, it didn’t last, and Galder departed in 2024 to focus on Old Man’s Child once more. Given the shakeup of a longtime winning formula, do Shagrath and Silenoz silence naysayers with Grand Serpent Rising, or are listeners saddled with Temu Borgir?1

As ever, Dimmu Borgir discharges extravagant theater through the lens of black metal, drenching Grand Serpent Rising in haunting atmospherics and lush orchestrations. Since Death Cult Armageddon, the incorporation of symphonic elements has steadily grown more prominent, and over the years, these Norwegians have carved out a niche that exists somewhere between Gorgoroth and Nightwish. And like Cradle of Filth, Dimmu Borgir goes for baroque, though instead of luxuriating in garish excess, they compose with nuanced sophistication. Grand Serpent Rising is the culmination of the intervening albums, with Galder’s departure pushing Dimmu Borgir to fill the void he left with more deliberate arrangements. Thankfully, Grand Serpent Rising advances what yielded success for the band over the last couple decades, dredging textural depths and honing the intricate interplays of instrumentation that didn’t reach quite far enough on Eonian.

Though Shagrath and Silenoz shoulder many of Grand Serpent Rising’s performances, a handful of guests play pivotal roles in defining one of Dimmu Borgir’s best-sounding records. Longtime session and live drummer Daray gets an immediate boost, where the drumheads’ natural timbres and resonances leap out of the mix to imbue a thunderous dimension missing from Eonian (“The Qryptfarer,” “Phantom of the Nemesis”). The orchestrations and keyboards also integrate better on Grand Serpent Rising,2 their presence is more intentional and interwoven in lieu of Galder’s nimble lead work. None of this should suggest that the guitars take a backseat, though, as Silenoz and Kjell ‘Damage’ Karlsen (Chrome Division)3 pluck and shred with conviction as songs demand (check the intro to “Repository of Divine Transmutation” and the solo in “Ascent”). The riffs and leads merit attention as well, with soaring melodies (“Slik Minnes en Alkymist”), crystalline cleans (“As Seen in the Unseen”), and trem-picked offensives emboldening the Serpent. All the while, Shagrath croaks (“Slik Minnes en Alkymist”) and croons (“Ascent”), supplying one of black metal’s least abrasive vocal styles.

Dimmu Borgir prevails throughout Grand Serpent Rising, although a few issues from previous albums linger. At sixty-nine minutes long, Grand Serpent Rising sprawls. To be fair, the album is dynamic and intricate enough that parts rarely (if ever) feel repetitive, and proceedings slither quicker than the length suggests. Yet condensing the runtime by ten minutes would improve the overarching impact and effectiveness. Compounding and confounding the duration is the complexity of Grand Serpent Rising’s arrangements—they richly reward those with the patience to fully engage for multiple listens, but present a hurdle for impatient or distracted listening. Still, while the album isn’t perfect, these complaints pale in comparison to the triumph Dimmu Burger devises on Grand Serpent Rising.

In the end, Dimmu Borgir has written an album that refines their sound rather than reinventing it. If you’ve listened to any of their recent albums and formed an opinion, Grand Serpent Rising won’t change it. Instead, it proves that Dimmu remains as skilled as ever at creating opulent symphoblack, regardless of how long it takes between albums or what crucial personnel changes they endure. Dimmu Borgir perseveres For all tid, and if you’re not wholly opposed to flamboyant black metal on principle, their latest awaits to stimulate, captivate, and ensure your Grand Serpent’s Rising.

Rating: Very Good!
DR: 6 | Format Reviewed: 256 kbps mp3
Label: Nuclear Blast Records
Websites: Website | Bandcamp | Facebook
Releases Worldwide: May 22nd, 2026

At their best, Dimmu Borgir exudes a wicked majesty, governing the forces of darkness with dispassionate contempt and an utter certainty in their ungodly mandate. This attitude, along with the confluence of grandeur and melodrama, defines what initially drew me to Dimmu Borgir years ago, and what has kept me interested despite the interminable gaps between releases. Since forming in 1993, Shagrath and Silenoz have consistently delivered symphonic black metal that tempers the unrelenting acrimony of second-wave black metal with wistful melodies, sculpting an extensive emotional palette. In 2000, Dimmu Borgir enlisted Old Man’s Child’s Galder as lead guitarist, and the three of them penned bewitching black metal for a quarter century. As with all good things, though, it didn’t last, and Galder departed in 2024 to focus on Old Man’s Child once more. Given the shakeup of a longtime winning formula, do Shagrath and Silenoz silence naysayers with Grand Serpent Rising, or are listeners saddled with Temu Borgir?1

As ever, Dimmu Borgir discharges extravagant theater through the lens of black metal, drenching Grand Serpent Rising in haunting atmospherics and lush orchestrations. Since Death Cult Armageddon, the incorporation of symphonic elements has steadily grown more prominent, and over the years, these Norwegians have carved out a niche that exists somewhere between Gorgoroth and Nightwish. And like Cradle of Filth, Dimmu Borgir goes for baroque, though instead of luxuriating in garish excess, they compose with nuanced sophistication. Grand Serpent Rising is the culmination of the intervening albums, with Galder’s departure pushing Dimmu Borgir to fill the void he left with more deliberate arrangements. Thankfully, Grand Serpent Rising advances what yielded success for the band over the last couple decades, dredging textural depths and honing the intricate interplays of instrumentation that didn’t reach quite far enough on Eonian.

Though Shagrath and Silenoz shoulder many of Grand Serpent Rising’s performances, a handful of guests play pivotal roles in defining one of Dimmu Borgir’s best-sounding records. Longtime session and live drummer Daray gets an immediate boost, where the drumheads’ natural timbres and resonances leap out of the mix to imbue a thunderous dimension missing from Eonian (“The Qryptfarer,” “Phantom of the Nemesis”). The orchestrations and keyboards also integrate better on Grand Serpent Rising,2 their presence is more intentional and interwoven in lieu of Galder’s nimble lead work. None of this should suggest that the guitars take a backseat, though, as Silenoz and Kjell ‘Damage’ Karlsen (Chrome Division)3 pluck and shred with conviction as songs demand (check the intro to “Repository of Divine Transmutation” and the solo in “Ascent”). The riffs and leads merit attention as well, with soaring melodies (“Slik Minnes en Alkymist”), crystalline cleans (“As Seen in the Unseen”), and trem-picked offensives emboldening the Serpent. All the while, Shagrath croaks (“Slik Minnes en Alkymist”) and croons (“Ascent”), supplying one of black metal’s least abrasive vocal styles.

Dimmu Borgir prevails throughout Grand Serpent Rising, although a few issues from previous albums linger. At sixty-nine minutes long, Grand Serpent Rising sprawls. To be fair, the album is dynamic and intricate enough that parts rarely (if ever) feel repetitive, and proceedings slither quicker than the length suggests. Yet condensing the runtime by ten minutes would improve the overarching impact and effectiveness. Compounding and confounding the duration is the complexity of Grand Serpent Rising’s arrangements—they richly reward those with the patience to fully engage for multiple listens, but present a hurdle for impatient or distracted listening. Still, while the album isn’t perfect, these complaints pale in comparison to the triumph Dimmu Burger devises on Grand Serpent Rising.

In the end, Dimmu Borgir has written an album that refines their sound rather than reinventing it. If you’ve listened to any of their recent albums and formed an opinion, Grand Serpent Rising won’t change it. Instead, it proves that Dimmu remains as skilled as ever at creating opulent symphoblack, regardless of how long it takes between albums or what crucial personnel changes they endure. Dimmu Borgir perseveres For all tid, and if you’re not wholly opposed to flamboyant black metal on principle, their latest awaits to stimulate, captivate, and ensure your Grand Serpent’s Rising.

Rating: Very Good!
DR: 6 | Format Reviewed: 256 kbps mp3
Label: Nuclear Blast Records
Websites: Website | Bandcamp | Facebook
Releases Worldwide: May 22nd, 2026

At their best, Dimmu Borgir exudes a wicked majesty, governing the forces of darkness with dispassionate contempt and an utter certainty in their ungodly mandate. This attitude, along with the confluence of grandeur and melodrama, defines what initially drew me to Dimmu Borgir years ago, and what has kept me interested despite the interminable gaps between releases. Since forming in 1993, Shagrath and Silenoz have consistently delivered symphonic black metal that tempers the unrelenting acrimony of second-wave black metal with wistful melodies, sculpting an extensive emotional palette. In 2000, Dimmu Borgir enlisted Old Man’s Child’s Galder as lead guitarist, and the three of them penned bewitching black metal for a quarter century. As with all good things, though, it didn’t last, and Galder departed in 2024 to focus on Old Man’s Child once more. Given the shakeup of a longtime winning formula, do Shagrath and Silenoz silence naysayers with Grand Serpent Rising, or are listeners saddled with Temu Borgir?1

As ever, Dimmu Borgir discharges extravagant theater through the lens of black metal, drenching Grand Serpent Rising in haunting atmospherics and lush orchestrations. Since Death Cult Armageddon, the incorporation of symphonic elements has steadily grown more prominent, and over the years, these Norwegians have carved out a niche that exists somewhere between Gorgoroth and Nightwish. And like Cradle of Filth, Dimmu Borgir goes for baroque, though instead of luxuriating in garish excess, they compose with nuanced sophistication. Grand Serpent Rising is the culmination of the intervening albums, with Galder’s departure pushing Dimmu Borgir to fill the void he left with more deliberate arrangements. Thankfully, Grand Serpent Rising advances what yielded success for the band over the last couple decades, dredging textural depths and honing the intricate interplays of instrumentation that didn’t reach quite far enough on Eonian.

Though Shagrath and Silenoz shoulder many of Grand Serpent Rising’s performances, a handful of guests play pivotal roles in defining one of Dimmu Borgir’s best-sounding records. Longtime session and live drummer Daray gets an immediate boost, where the drumheads’ natural timbres and resonances leap out of the mix to imbue a thunderous dimension missing from Eonian (“The Qryptfarer,” “Phantom of the Nemesis”). The orchestrations and keyboards also integrate better on Grand Serpent Rising,2 their presence is more intentional and interwoven in lieu of Galder’s nimble lead work. None of this should suggest that the guitars take a backseat, though, as Silenoz and Kjell ‘Damage’ Karlsen (Chrome Division)3 pluck and shred with conviction as songs demand (check the intro to “Repository of Divine Transmutation” and the solo in “Ascent”). The riffs and leads merit attention as well, with soaring melodies (“Slik Minnes en Alkymist”), crystalline cleans (“As Seen in the Unseen”), and trem-picked offensives emboldening the Serpent. All the while, Shagrath croaks (“Slik Minnes en Alkymist”) and croons (“Ascent”), supplying one of black metal’s least abrasive vocal styles.

Dimmu Borgir prevails throughout Grand Serpent Rising, although a few issues from previous albums linger. At sixty-nine minutes long, Grand Serpent Rising sprawls. To be fair, the album is dynamic and intricate enough that parts rarely (if ever) feel repetitive, and proceedings slither quicker than the length suggests. Yet condensing the runtime by ten minutes would improve the overarching impact and effectiveness. Compounding and confounding the duration is the complexity of Grand Serpent Rising’s arrangements—they richly reward those with the patience to fully engage for multiple listens, but present a hurdle for impatient or distracted listening. Still, while the album isn’t perfect, these complaints pale in comparison to the triumph Dimmu Burger devises on Grand Serpent Rising.

In the end, Dimmu Borgir has written an album that refines their sound rather than reinventing it. If you’ve listened to any of their recent albums and formed an opinion, Grand Serpent Rising won’t change it. Instead, it proves that Dimmu remains as skilled as ever at creating opulent symphoblack, regardless of how long it takes between albums or what crucial personnel changes they endure. Dimmu Borgir perseveres For all tid, and if you’re not wholly opposed to flamboyant black metal on principle, their latest awaits to stimulate, captivate, and ensure your Grand Serpent’s Rising.

Rating: Very Good!
DR: 6 | Format Reviewed: 256 kbps mp3
Label: Nuclear Blast Records
Websites: Website | Bandcamp | Facebook
Releases Worldwide: May 22nd, 2026

At their best, Dimmu Borgir exudes a wicked majesty, governing the forces of darkness with dispassionate contempt and an utter certainty in their ungodly mandate. This attitude, along with the confluence of grandeur and melodrama, defines what initially drew me to Dimmu Borgir years ago, and what has kept me interested despite the interminable gaps between releases. Since forming in 1993, Shagrath and Silenoz have consistently delivered symphonic black metal that tempers the unrelenting acrimony of second-wave black metal with wistful melodies, sculpting an extensive emotional palette. In 2000, Dimmu Borgir enlisted Old Man’s Child’s Galder as lead guitarist, and the three of them penned bewitching black metal for a quarter century. As with all good things, though, it didn’t last, and Galder departed in 2024 to focus on Old Man’s Child once more. Given the shakeup of a longtime winning formula, do Shagrath and Silenoz silence naysayers with Grand Serpent Rising, or are listeners saddled with Temu Borgir?1

As ever, Dimmu Borgir discharges extravagant theater through the lens of black metal, drenching Grand Serpent Rising in haunting atmospherics and lush orchestrations. Since Death Cult Armageddon, the incorporation of symphonic elements has steadily grown more prominent, and over the years, these Norwegians have carved out a niche that exists somewhere between Gorgoroth and Nightwish. And like Cradle of Filth, Dimmu Borgir goes for baroque, though instead of luxuriating in garish excess, they compose with nuanced sophistication. Grand Serpent Rising is the culmination of the intervening albums, with Galder’s departure pushing Dimmu Borgir to fill the void he left with more deliberate arrangements. Thankfully, Grand Serpent Rising advances what yielded success for the band over the last couple decades, dredging textural depths and honing the intricate interplays of instrumentation that didn’t reach quite far enough on Eonian.

Though Shagrath and Silenoz shoulder many of Grand Serpent Rising’s performances, a handful of guests play pivotal roles in defining one of Dimmu Borgir’s best-sounding records. Longtime session and live drummer Daray gets an immediate boost, where the drumheads’ natural timbres and resonances leap out of the mix to imbue a thunderous dimension missing from Eonian (“The Qryptfarer,” “Phantom of the Nemesis”). The orchestrations and keyboards also integrate better on Grand Serpent Rising,2 their presence is more intentional and interwoven in lieu of Galder’s nimble lead work. None of this should suggest that the guitars take a backseat, though, as Silenoz and Kjell ‘Damage’ Karlsen (Chrome Division)3 pluck and shred with conviction as songs demand (check the intro to “Repository of Divine Transmutation” and the solo in “Ascent”). The riffs and leads merit attention as well, with soaring melodies (“Slik Minnes en Alkymist”), crystalline cleans (“As Seen in the Unseen”), and trem-picked offensives emboldening the Serpent. All the while, Shagrath croaks (“Slik Minnes en Alkymist”) and croons (“Ascent”), supplying one of black metal’s least abrasive vocal styles.

Dimmu Borgir prevails throughout Grand Serpent Rising, although a few issues from previous albums linger. At sixty-nine minutes long, Grand Serpent Rising sprawls. To be fair, the album is dynamic and intricate enough that parts rarely (if ever) feel repetitive, and proceedings slither quicker than the length suggests. Yet condensing the runtime by ten minutes would improve the overarching impact and effectiveness. Compounding and confounding the duration is the complexity of Grand Serpent Rising’s arrangements—they richly reward those with the patience to fully engage for multiple listens, but present a hurdle for impatient or distracted listening. Still, while the album isn’t perfect, these complaints pale in comparison to the triumph Dimmu Burger devises on Grand Serpent Rising.

In the end, Dimmu Borgir has written an album that refines their sound rather than reinventing it. If you’ve listened to any of their recent albums and formed an opinion, Grand Serpent Rising won’t change it. Instead, it proves that Dimmu remains as skilled as ever at creating opulent symphoblack, regardless of how long it takes between albums or what crucial personnel changes they endure. Dimmu Borgir perseveres For all tid, and if you’re not wholly opposed to flamboyant black metal on principle, their latest awaits to stimulate, captivate, and ensure your Grand Serpent’s Rising.

Rating: Very Good!
DR: 6 | Format Reviewed: 256 kbps mp3
Label: Nuclear Blast Records
Websites: Website | Bandcamp | Facebook
Releases Worldwide: May 22nd, 2026

Three weeks ago, we were at the #p60 for a quality #blackmetal evening with #gorgoroth #patristic #tyrmfar and #lomsk You can witness some of it from the comfort of your favourite location with this fine playlist. https://www.youtube.com/watch?v=Pz-2ValOe8M&list=PLmn2ED1LqEvBoSpp7Vo47AdqCIQ12ayfN

Three weeks ago, we were at the #p60 for a quality #blackmetal evening with #gorgoroth #patristic #tyrmfar and #lomsk You can witness some of it from the comfort of your favourite location with this fine playlist. https://www.youtube.com/watch?v=Pz-2ValOe8M&list=PLmn2ED1LqEvBoSpp7Vo47AdqCIQ12ayfN

Three weeks ago, we were at the #p60 for a quality #blackmetal evening with #gorgoroth #patristic #tyrmfar and #lomsk You can witness some of it from the comfort of your favourite location with this fine playlist. https://www.youtube.com/watch?v=Pz-2ValOe8M&list=PLmn2ED1LqEvBoSpp7Vo47AdqCIQ12ayfN

Another evening with lots of gigs within easy reach. This time we were at the very foggy #p60 in Amstelveen to witness Norwegian #blackmetal royalty #gorgoroth accompanied by #patristic #tyrmfar and #lomsk This kicked serious ass.

Another evening with lots of gigs within easy reach. This time we were at the very foggy #p60 in Amstelveen to witness Norwegian #blackmetal royalty #gorgoroth accompanied by #patristic #tyrmfar and #lomsk This kicked serious ass.

Another evening with lots of gigs within easy reach. This time we were at the very foggy #p60 in Amstelveen to witness Norwegian #blackmetal royalty #gorgoroth accompanied by #patristic #tyrmfar and #lomsk This kicked serious ass.

No Kings but the King ov Hell

Tom Cato Visnes

#NoKings #TomCatoVisnes #ovHell #Gorgoroth

Gjendød – Svekkelse Review

By Grin Reaper

In a genre defined by trem-picking, unbridled shrieks, and lo-fi, treble-heavy production, Gjendød challenges a paradigm long synonymous with black metal—no bass, no problem. Though unabashedly black metal, Gjendød offers an alternative to typical second-wave stylings while still being recognizably influenced by them. Svekkelse is Gjendød’s sixth LP since founding duo K and KK joined forces in 2015. After releasing I Utakt med Verden in 2022, the Trondheim, Norway twosome enlisted drummer TK1 and Gjendød signed with Osmose Productions. These developments gave listeners 2024’s Livskramper and now Svekkelse. Both albums buck some of the musical stereotypes rife within the genre, yet it takes more than subverting expectations to write an estimable record. Is Gjendød up to the task?

The elements of Gjendød’s sound have been around since the band’s inception, with melodic leads and prominent bass strewn throughout their discography. But things didn’t crystallize until Livskramper, where Gjendød upped their commitment to melody, and the production took a step forward. Svekkelse continues the work Livskramper began. Bassist and vocalist KK’s gargles flirt with early Satyricon, which compounds with the bass-laden mix recalling The Shadowthrone. Musically, Gorgoroth’s Antichrist provides another point of comparison, although KK’s vocals won’t be mistaken for Hat’s croaks. Either way, those illustrious parallels give a suggestion of what to expect, though don’t go into Svekkelse anticipating a reproduction of either. What Gjendød has assembled is a vision all their own.

With dynamic guitar leads, sultry bass grooves, and proficient stickwork, Gjendød has no room for slouches. Every time I spin Svekkelse, it’s all about that bass. It’s so present in the mix that it’s impossible not to be entranced. Though bass is present throughout the album, opener “Likens bortgang” sets strong expectations. And when the pace slows in “En staur i hjertet,” the bass ambles out the gates to carry the melody with trem-picked chords underpinning blackened rasps. It would all be for naught if the bass-playing wasn’t accomplished enough to merit the spotlight. In this regard, KK does not disappoint, as bass lines slink with groovy, understated elegance. Gjendød’s talent isn’t limited to four-string heft,2 though, as guitarist K does a swell job through Svekkelse’s forty-two minutes. The tremolos are well-executed but standard black metal fare, and he spices things up with calculated whammy abuse (“Likens bortgang”), inducing surf-rock flavors when employed. K also tucks some nifty solos into Svekkelse, my personal favorite being in “Maktens sødme,” and occasionally inhabits skronky Voivodian territory (“Maktens sødme,” “En elv av kjøtt”). Rounding out the trio, drummer TK braces the band ably and unobtrusively, and while there’s no show-stopping kit work, the music never flags or sags for lack of a rhythmic cornerstone.

Churning out an album in a year is no mean feat, but more time between releases could have helped address the nagging issues holding Svekkelse back. Final track “Den falske råte” is a nasty, seven-minute ode to Norwegian black metal fury. It captures that sound well, but doesn’t connect with the preceding songs enough. Dropping it and pushing “En staur i hjertet” to the end would have made the album tighter, more consistent, and still allowed for a sprawling conclusion with sufficient gravity. Also, while there aren’t any bad songs on Svekkelse, the quality dips in the back half. Specifically, mid-paced sections muck with the overall flow, and the songs aren’t quite as memorable, making for a front-loaded listen. Despite these reservations, Gjendød delivers a success. While a high DR score isn’t a guarantee, the mix and master on Svekkelse are superb, deftly blending raw guitar and vocals with smooth, buttery bass. In total, there’s a lot to like.

Gjendød’s latest imparts a groovy twist on black metal in a one-sitting dose, which is better than a fair number of albums I’ve listened to this year. While Svekkelse won’t list for me, I expect I’ll return to it when I hear other promising black metal albums deficient in vitamin bass. Gjendød has defined a trademark sound, and with a little more attention to honing their songcraft, their next album could be something special. As it stands, Gjendød are on the cusp of something better, but after several listens, I’m not entirely convinced. Regardless, I’m invested in the evolution of their sound and excited to hear where they take things next.

Rating: Good!
DR: 10 | Format Reviewed: 320 kpbs mp3
Label: Osmose Productions
Website: Facebook
Releases Worldwide: September 26th, 2025

#2025 #30 #BlackMetal #Gjendød #Gorgoroth #MelodicBlackMetal #NorwegianMetal #Osmose #OsmoseProductions #Review #Reviews #Satyricon #Sep25 #Svekkelse #Voivod

Gjendød – Svekkelse Review

By Grin Reaper

In a genre defined by trem-picking, unbridled shrieks, and lo-fi, treble-heavy production, Gjendød challenges a paradigm long synonymous with black metal—no bass, no problem. Though unabashedly black metal, Gjendød offers an alternative to typical second-wave stylings while still being recognizably influenced by them. Svekkelse is Gjendød’s sixth LP since founding duo K and KK joined forces in 2015. After releasing I Utakt med Verden in 2022, the Trondheim, Norway twosome enlisted drummer TK1 and Gjendød signed with Osmose Productions. These developments gave listeners 2024’s Livskramper and now Svekkelse. Both albums buck some of the musical stereotypes rife within the genre, yet it takes more than subverting expectations to write an estimable record. Is Gjendød up to the task?

The elements of Gjendød’s sound have been around since the band’s inception, with melodic leads and prominent bass strewn throughout their discography. But things didn’t crystallize until Livskramper, where Gjendød upped their commitment to melody, and the production took a step forward. Svekkelse continues the work Livskramper began. Bassist and vocalist KK’s gargles flirt with early Satyricon, which compounds with the bass-laden mix recalling The Shadowthrone. Musically, Gorgoroth’s Antichrist provides another point of comparison, although KK’s vocals won’t be mistaken for Hat’s croaks. Either way, those illustrious parallels give a suggestion of what to expect, though don’t go into Svekkelse anticipating a reproduction of either. What Gjendød has assembled is a vision all their own.

With dynamic guitar leads, sultry bass grooves, and proficient stickwork, Gjendød has no room for slouches. Every time I spin Svekkelse, it’s all about that bass. It’s so present in the mix that it’s impossible not to be entranced. Though bass is present throughout the album, opener “Likens bortgang” sets strong expectations. And when the pace slows in “En staur i hjertet,” the bass ambles out the gates to carry the melody with trem-picked chords underpinning blackened rasps. It would all be for naught if the bass-playing wasn’t accomplished enough to merit the spotlight. In this regard, KK does not disappoint, as bass lines slink with groovy, understated elegance. Gjendød’s talent isn’t limited to four-string heft,2 though, as guitarist K does a swell job through Svekkelse’s forty-two minutes. The tremolos are well-executed but standard black metal fare, and he spices things up with calculated whammy abuse (“Likens bortgang”), inducing surf-rock flavors when employed. K also tucks some nifty solos into Svekkelse, my personal favorite being in “Maktens sødme,” and occasionally inhabits skronky Voivodian territory (“Maktens sødme,” “En elv av kjøtt”). Rounding out the trio, drummer TK braces the band ably and unobtrusively, and while there’s no show-stopping kit work, the music never flags or sags for lack of a rhythmic cornerstone.

Churning out an album in a year is no mean feat, but more time between releases could have helped address the nagging issues holding Svekkelse back. Final track “Den falske råte” is a nasty, seven-minute ode to Norwegian black metal fury. It captures that sound well, but doesn’t connect with the preceding songs enough. Dropping it and pushing “En staur i hjertet” to the end would have made the album tighter, more consistent, and still allowed for a sprawling conclusion with sufficient gravity. Also, while there aren’t any bad songs on Svekkelse, the quality dips in the back half. Specifically, mid-paced sections muck with the overall flow, and the songs aren’t quite as memorable, making for a front-loaded listen. Despite these reservations, Gjendød delivers a success. While a high DR score isn’t a guarantee, the mix and master on Svekkelse are superb, deftly blending raw guitar and vocals with smooth, buttery bass. In total, there’s a lot to like.

Gjendød’s latest imparts a groovy twist on black metal in a one-sitting dose, which is better than a fair number of albums I’ve listened to this year. While Svekkelse won’t list for me, I expect I’ll return to it when I hear other promising black metal albums deficient in vitamin bass. Gjendød has defined a trademark sound, and with a little more attention to honing their songcraft, their next album could be something special. As it stands, Gjendød are on the cusp of something better, but after several listens, I’m not entirely convinced. Regardless, I’m invested in the evolution of their sound and excited to hear where they take things next.

Rating: Good!
DR: 10 | Format Reviewed: 320 kpbs mp3
Label: Osmose Productions
Website: Facebook
Releases Worldwide: September 26th, 2025

#2025 #30 #BlackMetal #Gjendød #Gorgoroth #MelodicBlackMetal #NorwegianMetal #Osmose #OsmoseProductions #Review #Reviews #Satyricon #Sep25 #Svekkelse #Voivod

Gjendød – Svekkelse Review

By Grin Reaper

In a genre defined by trem-picking, unbridled shrieks, and lo-fi, treble-heavy production, Gjendød challenges a paradigm long synonymous with black metal—no bass, no problem. Though unabashedly black metal, Gjendød offers an alternative to typical second-wave stylings while still being recognizably influenced by them. Svekkelse is Gjendød’s sixth LP since founding duo K and KK joined forces in 2015. After releasing I Utakt med Verden in 2022, the Trondheim, Norway twosome enlisted drummer TK1 and Gjendød signed with Osmose Productions. These developments gave listeners 2024’s Livskramper and now Svekkelse. Both albums buck some of the musical stereotypes rife within the genre, yet it takes more than subverting expectations to write an estimable record. Is Gjendød up to the task?

The elements of Gjendød’s sound have been around since the band’s inception, with melodic leads and prominent bass strewn throughout their discography. But things didn’t crystallize until Livskramper, where Gjendød upped their commitment to melody, and the production took a step forward. Svekkelse continues the work Livskramper began. Bassist and vocalist KK’s gargles flirt with early Satyricon, which compounds with the bass-laden mix recalling The Shadowthrone. Musically, Gorgoroth’s Antichrist provides another point of comparison, although KK’s vocals won’t be mistaken for Hat’s croaks. Either way, those illustrious parallels give a suggestion of what to expect, though don’t go into Svekkelse anticipating a reproduction of either. What Gjendød has assembled is a vision all their own.

With dynamic guitar leads, sultry bass grooves, and proficient stickwork, Gjendød has no room for slouches. Every time I spin Svekkelse, it’s all about that bass. It’s so present in the mix that it’s impossible not to be entranced. Though bass is present throughout the album, opener “Likens bortgang” sets strong expectations. And when the pace slows in “En staur i hjertet,” the bass ambles out the gates to carry the melody with trem-picked chords underpinning blackened rasps. It would all be for naught if the bass-playing wasn’t accomplished enough to merit the spotlight. In this regard, KK does not disappoint, as bass lines slink with groovy, understated elegance. Gjendød’s talent isn’t limited to four-string heft,2 though, as guitarist K does a swell job through Svekkelse’s forty-two minutes. The tremolos are well-executed but standard black metal fare, and he spices things up with calculated whammy abuse (“Likens bortgang”), inducing surf-rock flavors when employed. K also tucks some nifty solos into Svekkelse, my personal favorite being in “Maktens sødme,” and occasionally inhabits skronky Voivodian territory (“Maktens sødme,” “En elv av kjøtt”). Rounding out the trio, drummer TK braces the band ably and unobtrusively, and while there’s no show-stopping kit work, the music never flags or sags for lack of a rhythmic cornerstone.

Churning out an album in a year is no mean feat, but more time between releases could have helped address the nagging issues holding Svekkelse back. Final track “Den falske råte” is a nasty, seven-minute ode to Norwegian black metal fury. It captures that sound well, but doesn’t connect with the preceding songs enough. Dropping it and pushing “En staur i hjertet” to the end would have made the album tighter, more consistent, and still allowed for a sprawling conclusion with sufficient gravity. Also, while there aren’t any bad songs on Svekkelse, the quality dips in the back half. Specifically, mid-paced sections muck with the overall flow, and the songs aren’t quite as memorable, making for a front-loaded listen. Despite these reservations, Gjendød delivers a success. While a high DR score isn’t a guarantee, the mix and master on Svekkelse are superb, deftly blending raw guitar and vocals with smooth, buttery bass. In total, there’s a lot to like.

Gjendød’s latest imparts a groovy twist on black metal in a one-sitting dose, which is better than a fair number of albums I’ve listened to this year. While Svekkelse won’t list for me, I expect I’ll return to it when I hear other promising black metal albums deficient in vitamin bass. Gjendød has defined a trademark sound, and with a little more attention to honing their songcraft, their next album could be something special. As it stands, Gjendød are on the cusp of something better, but after several listens, I’m not entirely convinced. Regardless, I’m invested in the evolution of their sound and excited to hear where they take things next.

Rating: Good!
DR: 10 | Format Reviewed: 320 kpbs mp3
Label: Osmose Productions
Website: Facebook
Releases Worldwide: September 26th, 2025

#2025 #30 #BlackMetal #Gjendød #Gorgoroth #MelodicBlackMetal #NorwegianMetal #Osmose #OsmoseProductions #Review #Reviews #Satyricon #Sep25 #Svekkelse #Voivod

Gjendød – Svekkelse Review

By Grin Reaper

In a genre defined by trem-picking, unbridled shrieks, and lo-fi, treble-heavy production, Gjendød challenges a paradigm long synonymous with black metal—no bass, no problem. Though unabashedly black metal, Gjendød offers an alternative to typical second-wave stylings while still being recognizably influenced by them. Svekkelse is Gjendød’s sixth LP since founding duo K and KK joined forces in 2015. After releasing I Utakt med Verden in 2022, the Trondheim, Norway twosome enlisted drummer TK1 and Gjendød signed with Osmose Productions. These developments gave listeners 2024’s Livskramper and now Svekkelse. Both albums buck some of the musical stereotypes rife within the genre, yet it takes more than subverting expectations to write an estimable record. Is Gjendød up to the task?

The elements of Gjendød’s sound have been around since the band’s inception, with melodic leads and prominent bass strewn throughout their discography. But things didn’t crystallize until Livskramper, where Gjendød upped their commitment to melody, and the production took a step forward. Svekkelse continues the work Livskramper began. Bassist and vocalist KK’s gargles flirt with early Satyricon, which compounds with the bass-laden mix recalling The Shadowthrone. Musically, Gorgoroth’s Antichrist provides another point of comparison, although KK’s vocals won’t be mistaken for Hat’s croaks. Either way, those illustrious parallels give a suggestion of what to expect, though don’t go into Svekkelse anticipating a reproduction of either. What Gjendød has assembled is a vision all their own.

With dynamic guitar leads, sultry bass grooves, and proficient stickwork, Gjendød has no room for slouches. Every time I spin Svekkelse, it’s all about that bass. It’s so present in the mix that it’s impossible not to be entranced. Though bass is present throughout the album, opener “Likens bortgang” sets strong expectations. And when the pace slows in “En staur i hjertet,” the bass ambles out the gates to carry the melody with trem-picked chords underpinning blackened rasps. It would all be for naught if the bass-playing wasn’t accomplished enough to merit the spotlight. In this regard, KK does not disappoint, as bass lines slink with groovy, understated elegance. Gjendød’s talent isn’t limited to four-string heft,2 though, as guitarist K does a swell job through Svekkelse’s forty-two minutes. The tremolos are well-executed but standard black metal fare, and he spices things up with calculated whammy abuse (“Likens bortgang”), inducing surf-rock flavors when employed. K also tucks some nifty solos into Svekkelse, my personal favorite being in “Maktens sødme,” and occasionally inhabits skronky Voivodian territory (“Maktens sødme,” “En elv av kjøtt”). Rounding out the trio, drummer TK braces the band ably and unobtrusively, and while there’s no show-stopping kit work, the music never flags or sags for lack of a rhythmic cornerstone.

Churning out an album in a year is no mean feat, but more time between releases could have helped address the nagging issues holding Svekkelse back. Final track “Den falske råte” is a nasty, seven-minute ode to Norwegian black metal fury. It captures that sound well, but doesn’t connect with the preceding songs enough. Dropping it and pushing “En staur i hjertet” to the end would have made the album tighter, more consistent, and still allowed for a sprawling conclusion with sufficient gravity. Also, while there aren’t any bad songs on Svekkelse, the quality dips in the back half. Specifically, mid-paced sections muck with the overall flow, and the songs aren’t quite as memorable, making for a front-loaded listen. Despite these reservations, Gjendød delivers a success. While a high DR score isn’t a guarantee, the mix and master on Svekkelse are superb, deftly blending raw guitar and vocals with smooth, buttery bass. In total, there’s a lot to like.

Gjendød’s latest imparts a groovy twist on black metal in a one-sitting dose, which is better than a fair number of albums I’ve listened to this year. While Svekkelse won’t list for me, I expect I’ll return to it when I hear other promising black metal albums deficient in vitamin bass. Gjendød has defined a trademark sound, and with a little more attention to honing their songcraft, their next album could be something special. As it stands, Gjendød are on the cusp of something better, but after several listens, I’m not entirely convinced. Regardless, I’m invested in the evolution of their sound and excited to hear where they take things next.

Rating: Good!
DR: 10 | Format Reviewed: 320 kpbs mp3
Label: Osmose Productions
Website: Facebook
Releases Worldwide: September 26th, 2025

#2025 #30 #BlackMetal #Gjendød #Gorgoroth #MelodicBlackMetal #NorwegianMetal #Osmose #OsmoseProductions #Review #Reviews #Satyricon #Sep25 #Svekkelse #Voivod

Gjendød – Svekkelse Review

By Grin Reaper

In a genre defined by trem-picking, unbridled shrieks, and lo-fi, treble-heavy production, Gjendød challenges a paradigm long synonymous with black metal—no bass, no problem. Though unabashedly black metal, Gjendød offers an alternative to typical second-wave stylings while still being recognizably influenced by them. Svekkelse is Gjendød’s sixth LP since founding duo K and KK joined forces in 2015. After releasing I Utakt med Verden in 2022, the Trondheim, Norway twosome enlisted drummer TK1 and Gjendød signed with Osmose Productions. These developments gave listeners 2024’s Livskramper and now Svekkelse. Both albums buck some of the musical stereotypes rife within the genre, yet it takes more than subverting expectations to write an estimable record. Is Gjendød up to the task?

The elements of Gjendød’s sound have been around since the band’s inception, with melodic leads and prominent bass strewn throughout their discography. But things didn’t crystallize until Livskramper, where Gjendød upped their commitment to melody, and the production took a step forward. Svekkelse continues the work Livskramper began. Bassist and vocalist KK’s gargles flirt with early Satyricon, which compounds with the bass-laden mix recalling The Shadowthrone. Musically, Gorgoroth’s Antichrist provides another point of comparison, although KK’s vocals won’t be mistaken for Hat’s croaks. Either way, those illustrious parallels give a suggestion of what to expect, though don’t go into Svekkelse anticipating a reproduction of either. What Gjendød has assembled is a vision all their own.

With dynamic guitar leads, sultry bass grooves, and proficient stickwork, Gjendød has no room for slouches. Every time I spin Svekkelse, it’s all about that bass. It’s so present in the mix that it’s impossible not to be entranced. Though bass is present throughout the album, opener “Likens bortgang” sets strong expectations. And when the pace slows in “En staur i hjertet,” the bass ambles out the gates to carry the melody with trem-picked chords underpinning blackened rasps. It would all be for naught if the bass-playing wasn’t accomplished enough to merit the spotlight. In this regard, KK does not disappoint, as bass lines slink with groovy, understated elegance. Gjendød’s talent isn’t limited to four-string heft,2 though, as guitarist K does a swell job through Svekkelse’s forty-two minutes. The tremolos are well-executed but standard black metal fare, and he spices things up with calculated whammy abuse (“Likens bortgang”), inducing surf-rock flavors when employed. K also tucks some nifty solos into Svekkelse, my personal favorite being in “Maktens sødme,” and occasionally inhabits skronky Voivodian territory (“Maktens sødme,” “En elv av kjøtt”). Rounding out the trio, drummer TK braces the band ably and unobtrusively, and while there’s no show-stopping kit work, the music never flags or sags for lack of a rhythmic cornerstone.

Churning out an album in a year is no mean feat, but more time between releases could have helped address the nagging issues holding Svekkelse back. Final track “Den falske råte” is a nasty, seven-minute ode to Norwegian black metal fury. It captures that sound well, but doesn’t connect with the preceding songs enough. Dropping it and pushing “En staur i hjertet” to the end would have made the album tighter, more consistent, and still allowed for a sprawling conclusion with sufficient gravity. Also, while there aren’t any bad songs on Svekkelse, the quality dips in the back half. Specifically, mid-paced sections muck with the overall flow, and the songs aren’t quite as memorable, making for a front-loaded listen. Despite these reservations, Gjendød delivers a success. While a high DR score isn’t a guarantee, the mix and master on Svekkelse are superb, deftly blending raw guitar and vocals with smooth, buttery bass. In total, there’s a lot to like.

Gjendød’s latest imparts a groovy twist on black metal in a one-sitting dose, which is better than a fair number of albums I’ve listened to this year. While Svekkelse won’t list for me, I expect I’ll return to it when I hear other promising black metal albums deficient in vitamin bass. Gjendød has defined a trademark sound, and with a little more attention to honing their songcraft, their next album could be something special. As it stands, Gjendød are on the cusp of something better, but after several listens, I’m not entirely convinced. Regardless, I’m invested in the evolution of their sound and excited to hear where they take things next.

Rating: Good!
DR: 10 | Format Reviewed: 320 kpbs mp3
Label: Osmose Productions
Website: Facebook
Releases Worldwide: September 26th, 2025

#2025 #30 #BlackMetal #Gjendød #Gorgoroth #MelodicBlackMetal #NorwegianMetal #Osmose #OsmoseProductions #Review #Reviews #Satyricon #Sep25 #Svekkelse #Voivod

Hadde glemt dette lille forsøket på aktivisme i coveret på "Under The Sign of Hell". Kanskje ikke så originalt, men samtidig ikke noe jeg kan huske å ha sett noe særlig av ellers.

Tror jeg meldte meg ut lenge før jeg kjøpte denne, da.

#Gorgoroth #blackMetal

What's your favorite Gorgoroth album?

#Gorgoroth #blackMetal #metal #blackMetalMonday

Svartfjell – I, the Destroyer Review

By Dr. A.N. Grier

As many of you already know, Nietzsche is not an uncommon subject for metal—specifically black metal. The UK’s newest addition to the black metal scene, Svartfjell, focuses highly on this philosophy source for their debut record, I, the Destroyer. This album uses Nietzsche’s “The Will to Power” concept to provide a journey of self-betterment. Beginning by destroying the unsavory elements of one’s life, the album guides the listener through a journey of enlightenment in hopes that the result is self-fulfillment and blissful egoism. On paper, this is a fitting concept for a black metal outfit, especially for this project whose sole member appears to be a practitioner and evangelist of this kind of thinking. After the initial destruction of one’s previous life, the album’s eight tracks follow a process of rebirth, providing moments of recollection to understand what was left behind in favor of this new existence. But, drawings on paper only go so far. Execution can make or break an album of this caliber. So, will this theme materialize with matching songwriting, flow, and album structure?

Shrouded in mystery, the only concrete evidence I can find that Svartfjell is real and not a figment of my imagination is that its only member goes by the name of Hearne. While providing typical guitar, bass, and drum contributions, Hearne also incorporates a range of vocal approaches and even some keys. From black metal rasps to death growls and pained screams, I, the Destroyer has a rich variation that lends well to the songwriting—not to mention the skills this gent has on the album’s crucial instruments. Not the kind to slap away on the snare as olde purveyors of the style, Svartfjell’s drumming style is aggressive and powerful, rising to the surface to lend heft to the crushing riffs. The guitar work is also quite impressive for this style of metal. Soaring solos and intricate leads create a blanket over the splashes of headbangable riffage that range from black to death. The variation on I, the Destroyer is satisfying as hell and guides the Will to Power theme quite well.

The title track “I, The Destroyer” kicks the album off in a fucking hurry, providing the correct amount of oomph and angst for the first stage of your re-enlightenment. Opening with some vicious black metal tremolos and pounding drums, the song ventures into the first of many instances of melodic atmoblack before it explodes into a killer riff that hints at what’s to come. Throughout, the drums lay a perfect foundation for the riff and mood changes, letting the guitars meander and flow as the vocals begin to layer in various ways. Hell, even the bass surfaces, adding a somber mood to the melodic passages. Like many of the album’s tracks, “I, The Destroyer” is a grower that continues to scale the fiery pit until the bitter end. The follow-up track begins Part I of the “Will to Power” trilogy. Starting with some dissonant sustains and galloping drum work akin to Old Man’s Child, the song morphs into second-wave elements that bring to mind Gorgoroth. The riff changes continue, alternating the mood from pure aggression to melodic beauty. With each build comes a new reset that brings new and reimagined riffs that push the song to its climactic conclusion.

While there are plenty of great tracks to talk about on I, the Destroyer (like the death-riddled “Black Mountain”1 and sorrowful “A Mournful Setting Sun”), other standouts are “Will to Power II – Strength” and “A Fire to Light the Skies.” After opening with a standard black metal approach, the drums of “Will to Power II – Strength” shock the flow with a nifty drum gallop that breathes new life into something we’ve heard a thousand times. One of the reasons this song is so memorable is the multi-guitar leads that somehow overlap even though they aren’t playing the same thing. The bass also floats to the surface far more than any other song, taking control of the rhythm. The song acts very little like a black metal song, introducing subtle heavy metal touches that make it pleasant while being unique. “A Fire to Light the Skies” delves deeper into the band’s melodic character, introducing sheer beauty and passion. Taking its time to get going, it creates a gentle atmosphere that matches the dark, hypnotizing plod. Like the opener, it also climaxes with a swirling tapestry of overlapping vocal variety.

For a debut album from a little-known black metal band, I didn’t expect to enjoy this album or listen to it as many times as I have. Though song lengths clock in around seven minutes on average, only a couple overstay their welcome. But, none suffer from the typical unbearableness of many black/atmoblack outfits. The only song that does drag on too long is the closer, “Will to Power III – Spirit.” That might be because the album is a touch longer than I’d like, but it’s also because it follows “A Fire to Light the Skies” with a similar gentle flow, slowing the album down too much for a strong finish. The other issue is the dynamics. The intricate instrumentation, at times, includes more than two guitars flying around in the ether. But, this compressed master doesn’t quite let the listener enjoy every nook and cranny. But the instrument that’s hurt the most by the compression is the bass. That said, I, the Destroyer is an impressive debut record that keeps it simple while tying a theme tightly to its song structure.

Rating: 3.5/5.0
DR: 5 | Format Reviewed: 320 kb/s mp3
Label: Moribund Records
Websites: svartfjell.bandcamp.com | facebook.com/svartfjell.official
Releases Worldwide: November 22nd, 2024

#2024 #35 #BlackMetal #Gorgoroth #ITheDestroyer #MoribundRecords #Nov24 #OldManSChild #Review #Reviews #Svartfjell #UKMetal

Svartfjell – I, the Destroyer Review

By Dr. A.N. Grier

As many of you already know, Nietzsche is not an uncommon subject for metal—specifically black metal. The UK’s newest addition to the black metal scene, Svartfjell, focuses highly on this philosophy source for their debut record, I, the Destroyer. This album uses Nietzsche’s “The Will to Power” concept to provide a journey of self-betterment. Beginning by destroying the unsavory elements of one’s life, the album guides the listener through a journey of enlightenment in hopes that the result is self-fulfillment and blissful egoism. On paper, this is a fitting concept for a black metal outfit, especially for this project whose sole member appears to be a practitioner and evangelist of this kind of thinking. After the initial destruction of one’s previous life, the album’s eight tracks follow a process of rebirth, providing moments of recollection to understand what was left behind in favor of this new existence. But, drawings on paper only go so far. Execution can make or break an album of this caliber. So, will this theme materialize with matching songwriting, flow, and album structure?

Shrouded in mystery, the only concrete evidence I can find that Svartfjell is real and not a figment of my imagination is that its only member goes by the name of Hearne. While providing typical guitar, bass, and drum contributions, Hearne also incorporates a range of vocal approaches and even some keys. From black metal rasps to death growls and pained screams, I, the Destroyer has a rich variation that lends well to the songwriting—not to mention the skills this gent has on the album’s crucial instruments. Not the kind to slap away on the snare as olde purveyors of the style, Svartfjell’s drumming style is aggressive and powerful, rising to the surface to lend heft to the crushing riffs. The guitar work is also quite impressive for this style of metal. Soaring solos and intricate leads create a blanket over the splashes of headbangable riffage that range from black to death. The variation on I, the Destroyer is satisfying as hell and guides the Will to Power theme quite well.

The title track “I, The Destroyer” kicks the album off in a fucking hurry, providing the correct amount of oomph and angst for the first stage of your re-enlightenment. Opening with some vicious black metal tremolos and pounding drums, the song ventures into the first of many instances of melodic atmoblack before it explodes into a killer riff that hints at what’s to come. Throughout, the drums lay a perfect foundation for the riff and mood changes, letting the guitars meander and flow as the vocals begin to layer in various ways. Hell, even the bass surfaces, adding a somber mood to the melodic passages. Like many of the album’s tracks, “I, The Destroyer” is a grower that continues to scale the fiery pit until the bitter end. The follow-up track begins Part I of the “Will to Power” trilogy. Starting with some dissonant sustains and galloping drum work akin to Old Man’s Child, the song morphs into second-wave elements that bring to mind Gorgoroth. The riff changes continue, alternating the mood from pure aggression to melodic beauty. With each build comes a new reset that brings new and reimagined riffs that push the song to its climactic conclusion.

While there are plenty of great tracks to talk about on I, the Destroyer (like the death-riddled “Black Mountain”1 and sorrowful “A Mournful Setting Sun”), other standouts are “Will to Power II – Strength” and “A Fire to Light the Skies.” After opening with a standard black metal approach, the drums of “Will to Power II – Strength” shock the flow with a nifty drum gallop that breathes new life into something we’ve heard a thousand times. One of the reasons this song is so memorable is the multi-guitar leads that somehow overlap even though they aren’t playing the same thing. The bass also floats to the surface far more than any other song, taking control of the rhythm. The song acts very little like a black metal song, introducing subtle heavy metal touches that make it pleasant while being unique. “A Fire to Light the Skies” delves deeper into the band’s melodic character, introducing sheer beauty and passion. Taking its time to get going, it creates a gentle atmosphere that matches the dark, hypnotizing plod. Like the opener, it also climaxes with a swirling tapestry of overlapping vocal variety.

For a debut album from a little-known black metal band, I didn’t expect to enjoy this album or listen to it as many times as I have. Though song lengths clock in around seven minutes on average, only a couple overstay their welcome. But, none suffer from the typical unbearableness of many black/atmoblack outfits. The only song that does drag on too long is the closer, “Will to Power III – Spirit.” That might be because the album is a touch longer than I’d like, but it’s also because it follows “A Fire to Light the Skies” with a similar gentle flow, slowing the album down too much for a strong finish. The other issue is the dynamics. The intricate instrumentation, at times, includes more than two guitars flying around in the ether. But, this compressed master doesn’t quite let the listener enjoy every nook and cranny. But the instrument that’s hurt the most by the compression is the bass. That said, I, the Destroyer is an impressive debut record that keeps it simple while tying a theme tightly to its song structure.

Rating: 3.5/5.0
DR: 5 | Format Reviewed: 320 kb/s mp3
Label: Moribund Records
Websites: svartfjell.bandcamp.com | facebook.com/svartfjell.official
Releases Worldwide: November 22nd, 2024

#2024 #35 #BlackMetal #Gorgoroth #ITheDestroyer #MoribundRecords #Nov24 #OldManSChild #Review #Reviews #Svartfjell #UKMetal

Svartfjell – I, the Destroyer Review

By Dr. A.N. Grier

As many of you already know, Nietzsche is not an uncommon subject for metal—specifically black metal. The UK’s newest addition to the black metal scene, Svartfjell, focuses highly on this philosophy source for their debut record, I, the Destroyer. This album uses Nietzsche’s “The Will to Power” concept to provide a journey of self-betterment. Beginning by destroying the unsavory elements of one’s life, the album guides the listener through a journey of enlightenment in hopes that the result is self-fulfillment and blissful egoism. On paper, this is a fitting concept for a black metal outfit, especially for this project whose sole member appears to be a practitioner and evangelist of this kind of thinking. After the initial destruction of one’s previous life, the album’s eight tracks follow a process of rebirth, providing moments of recollection to understand what was left behind in favor of this new existence. But, drawings on paper only go so far. Execution can make or break an album of this caliber. So, will this theme materialize with matching songwriting, flow, and album structure?

Shrouded in mystery, the only concrete evidence I can find that Svartfjell is real and not a figment of my imagination is that its only member goes by the name of Hearne. While providing typical guitar, bass, and drum contributions, Hearne also incorporates a range of vocal approaches and even some keys. From black metal rasps to death growls and pained screams, I, the Destroyer has a rich variation that lends well to the songwriting—not to mention the skills this gent has on the album’s crucial instruments. Not the kind to slap away on the snare as olde purveyors of the style, Svartfjell’s drumming style is aggressive and powerful, rising to the surface to lend heft to the crushing riffs. The guitar work is also quite impressive for this style of metal. Soaring solos and intricate leads create a blanket over the splashes of headbangable riffage that range from black to death. The variation on I, the Destroyer is satisfying as hell and guides the Will to Power theme quite well.

The title track “I, The Destroyer” kicks the album off in a fucking hurry, providing the correct amount of oomph and angst for the first stage of your re-enlightenment. Opening with some vicious black metal tremolos and pounding drums, the song ventures into the first of many instances of melodic atmoblack before it explodes into a killer riff that hints at what’s to come. Throughout, the drums lay a perfect foundation for the riff and mood changes, letting the guitars meander and flow as the vocals begin to layer in various ways. Hell, even the bass surfaces, adding a somber mood to the melodic passages. Like many of the album’s tracks, “I, The Destroyer” is a grower that continues to scale the fiery pit until the bitter end. The follow-up track begins Part I of the “Will to Power” trilogy. Starting with some dissonant sustains and galloping drum work akin to Old Man’s Child, the song morphs into second-wave elements that bring to mind Gorgoroth. The riff changes continue, alternating the mood from pure aggression to melodic beauty. With each build comes a new reset that brings new and reimagined riffs that push the song to its climactic conclusion.

While there are plenty of great tracks to talk about on I, the Destroyer (like the death-riddled “Black Mountain”1 and sorrowful “A Mournful Setting Sun”), other standouts are “Will to Power II – Strength” and “A Fire to Light the Skies.” After opening with a standard black metal approach, the drums of “Will to Power II – Strength” shock the flow with a nifty drum gallop that breathes new life into something we’ve heard a thousand times. One of the reasons this song is so memorable is the multi-guitar leads that somehow overlap even though they aren’t playing the same thing. The bass also floats to the surface far more than any other song, taking control of the rhythm. The song acts very little like a black metal song, introducing subtle heavy metal touches that make it pleasant while being unique. “A Fire to Light the Skies” delves deeper into the band’s melodic character, introducing sheer beauty and passion. Taking its time to get going, it creates a gentle atmosphere that matches the dark, hypnotizing plod. Like the opener, it also climaxes with a swirling tapestry of overlapping vocal variety.

For a debut album from a little-known black metal band, I didn’t expect to enjoy this album or listen to it as many times as I have. Though song lengths clock in around seven minutes on average, only a couple overstay their welcome. But, none suffer from the typical unbearableness of many black/atmoblack outfits. The only song that does drag on too long is the closer, “Will to Power III – Spirit.” That might be because the album is a touch longer than I’d like, but it’s also because it follows “A Fire to Light the Skies” with a similar gentle flow, slowing the album down too much for a strong finish. The other issue is the dynamics. The intricate instrumentation, at times, includes more than two guitars flying around in the ether. But, this compressed master doesn’t quite let the listener enjoy every nook and cranny. But the instrument that’s hurt the most by the compression is the bass. That said, I, the Destroyer is an impressive debut record that keeps it simple while tying a theme tightly to its song structure.

Rating: 3.5/5.0
DR: 5 | Format Reviewed: 320 kb/s mp3
Label: Moribund Records
Websites: svartfjell.bandcamp.com | facebook.com/svartfjell.official
Releases Worldwide: November 22nd, 2024

#2024 #35 #BlackMetal #Gorgoroth #ITheDestroyer #MoribundRecords #Nov24 #OldManSChild #Review #Reviews #Svartfjell #UKMetal

Demiser – Slave to the Scythe Review

By Cherd

I generally avoid metal music videos. Way too often they’re overly self-serious retreads of the same spooky/angry/edgy schtick and ultimately just serve to remind you that metal bands don’t have the budget for music videos. Lyric videos are even worse, as they expose metal’s unfortunate dearth of skilled lyricists. So I was surprised when, after watching the lead video single from Demiser’s sophomore full-length Slave to the Scythe, I was left thinking “Damn. There’s a band who know who they are.” South Carolina’s leading researchers of all things infernal, Demiser present the findings of their scholarly research into the contents of Hades with the peer-reviewed case study “Hell is Full of Fire.” Like the song title and self-same chorus, the accompanying video is charmingly direct. Here’s the band playing in a garage or small club setting. Here they are drinking in a cemetery at night. Back to the band playing. Back to the cemetery, where they’ve somehow lit a grave on fire. Band playing. Someone brought a scythe to the cemetery and it’s on fire. Ope, hard to play that guitar when it’s on fire. The whole thing is lit low but warm and looks well shot for what it is.

Demiser are a metal throwback in spirit: hard drinking, fast playing, “Fuck yeah/you!” attitude. They’re a throwback in sound too, in that way only newer bands blend a bunch of throwback sounds into a sticky paste of pastiche. This is blackened thrash with a deep vein of NWOBHM combining the likes of Overkill, Motörhead, and Gorgoroth. “Feast” kicks things off with a very “Painkiller”-esque drum intro followed by sinister riffage and lightning-fast fret-work. It sets a blazing pace that rarely lets up over the next 40 minutes of vicious axe-wielding (Gravepisser, Phallomancer, and Defiler) and machine gun time-keeping (Infestor) while Demiser the Demiser holds court with his blackened shouts. Lyrical themes are mostly of the blasphemous variety, with memorable declarations of damned-ness in “Feast” (“All! Hell! Now! Opens wide!”), “Hell is Full of Fire,” and “In Nomine Baphomet,” but they do take a break from hailing Satan to talk about driving motorcycles real fast in the delightful “Carbureted Speed.”

All this results in a comfort food metal album that’s more fun than a Hell themed roller coaster with dangerously loose safety bars. I defy any metalhead, regardless of sub-genre preference, to keep their figurative pants on when the guitar solos hit in “Feast” or to keep their invisible fruit in their pockets when Demiser the Demiser declares “Hell! Is Full! Of Fire!” Slave to the Scythe is best when it keeps the gas pushed all the way to road pavement, which it does a lot, but the addition of a foot-stomping bop and some surprising melodicism elevates “Phallomancer the Phallomancer” to the position of album highlight. After the debut included the memorable “Demiser the Demiser,” the next record better give Gravepisser and Defiler their own eponymous ditties or else feelings are going to get hurt.

My issues with Slave to the Scythe are all relatively minor. When played front to back, the title track falls a little flat compared to the two rip snorters that sandwich it. As for the acoustic interlude, it’s nice enough and it adds to the 80s thrash vibe, but I quickly began skipping it after the second spin or so. The record is in no way overstuffed at a blazing 40 minutes, but final track “In Nomine Baphomet” stands out for being 8 minutes long, and it does go a bit mushy in the middle of that run time. Thankfully, these moments do little to detract from a record where even second-tier tracks like “Total Demise” or “Infernal Bust” have stank-face riffs and drive-it-like-it’s-stolen energy.

Demiser are a band who know who they are. They aren’t reinventing the wheel, but they are putting it on the front of a motorcycle and driving it recklessly. If you were a fan of their rollicking debut Through the Gate Eternal, you’ll get more of the same breakneck goodness on Slave to the Scythe. Given the talent involved here, I expect they’ll just keep churning out albums of sack-whipping blackened thrash for years to come.

Rating: 3.5/5.0
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Metal Blade Records
Websites: demiser.bandcamp.com | facebook.com/demiserofficial
Releases Worldwide: August 23rd, 2024

#2024 #35 #AmericanMetal #Aug24 #BlackMetal #BlackenedThrash #Demiser #Gorgoroth #HeavyMetal #MetalBladeRecords #Motörhead #Review #Reviews #SlaveToTheScythe #ThrashMetal

Demiser – Slave to the Scythe Review

By Cherd

I generally avoid metal music videos. Way too often they’re overly self-serious retreads of the same spooky/angry/edgy schtick and ultimately just serve to remind you that metal bands don’t have the budget for music videos. Lyric videos are even worse, as they expose metal’s unfortunate dearth of skilled lyricists. So I was surprised when, after watching the lead video single from Demiser’s sophomore full-length Slave to the Scythe, I was left thinking “Damn. There’s a band who know who they are.” South Carolina’s leading researchers of all things infernal, Demiser present the findings of their scholarly research into the contents of Hades with the peer-reviewed case study “Hell is Full of Fire.” Like the song title and self-same chorus, the accompanying video is charmingly direct. Here’s the band playing in a garage or small club setting. Here they are drinking in a cemetery at night. Back to the band playing. Back to the cemetery, where they’ve somehow lit a grave on fire. Band playing. Someone brought a scythe to the cemetery and it’s on fire. Ope, hard to play that guitar when it’s on fire. The whole thing is lit low but warm and looks well shot for what it is.

Demiser are a metal throwback in spirit: hard drinking, fast playing, “Fuck yeah/you!” attitude. They’re a throwback in sound too, in that way only newer bands blend a bunch of throwback sounds into a sticky paste of pastiche. This is blackened thrash with a deep vein of NWOBHM combining the likes of Overkill, Motörhead, and Gorgoroth. “Feast” kicks things off with a very “Painkiller”-esque drum intro followed by sinister riffage and lightning-fast fret-work. It sets a blazing pace that rarely lets up over the next 40 minutes of vicious axe-wielding (Gravepisser, Phallomancer, and Defiler) and machine gun time-keeping (Infestor) while Demiser the Demiser holds court with his blackened shouts. Lyrical themes are mostly of the blasphemous variety, with memorable declarations of damned-ness in “Feast” (“All! Hell! Now! Opens wide!”), “Hell is Full of Fire,” and “In Nomine Baphomet,” but they do take a break from hailing Satan to talk about driving motorcycles real fast in the delightful “Carbureted Speed.”

All this results in a comfort food metal album that’s more fun than a Hell themed roller coaster with dangerously loose safety bars. I defy any metalhead, regardless of sub-genre preference, to keep their figurative pants on when the guitar solos hit in “Feast” or to keep their invisible fruit in their pockets when Demiser the Demiser declares “Hell! Is Full! Of Fire!” Slave to the Scythe is best when it keeps the gas pushed all the way to road pavement, which it does a lot, but the addition of a foot-stomping bop and some surprising melodicism elevates “Phallomancer the Phallomancer” to the position of album highlight. After the debut included the memorable “Demiser the Demiser,” the next record better give Gravepisser and Defiler their own eponymous ditties or else feelings are going to get hurt.

My issues with Slave to the Scythe are all relatively minor. When played front to back, the title track falls a little flat compared to the two rip snorters that sandwich it. As for the acoustic interlude, it’s nice enough and it adds to the 80s thrash vibe, but I quickly began skipping it after the second spin or so. The record is in no way overstuffed at a blazing 40 minutes, but final track “In Nomine Baphomet” stands out for being 8 minutes long, and it does go a bit mushy in the middle of that run time. Thankfully, these moments do little to detract from a record where even second-tier tracks like “Total Demise” or “Infernal Bust” have stank-face riffs and drive-it-like-it’s-stolen energy.

Demiser are a band who know who they are. They aren’t reinventing the wheel, but they are putting it on the front of a motorcycle and driving it recklessly. If you were a fan of their rollicking debut Through the Gate Eternal, you’ll get more of the same breakneck goodness on Slave to the Scythe. Given the talent involved here, I expect they’ll just keep churning out albums of sack-whipping blackened thrash for years to come.

Rating: 3.5/5.0
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Metal Blade Records
Websites: demiser.bandcamp.com | facebook.com/demiserofficial
Releases Worldwide: August 23rd, 2024

#2024 #35 #AmericanMetal #Aug24 #BlackMetal #BlackenedThrash #Demiser #Gorgoroth #HeavyMetal #MetalBladeRecords #Motörhead #Review #Reviews #SlaveToTheScythe #ThrashMetal

Demiser – Slave to the Scythe Review

By Cherd

I generally avoid metal music videos. Way too often they’re overly self-serious retreads of the same spooky/angry/edgy schtick and ultimately just serve to remind you that metal bands don’t have the budget for music videos. Lyric videos are even worse, as they expose metal’s unfortunate dearth of skilled lyricists. So I was surprised when, after watching the lead video single from Demiser’s sophomore full-length Slave to the Scythe, I was left thinking “Damn. There’s a band who know who they are.” South Carolina’s leading researchers of all things infernal, Demiser present the findings of their scholarly research into the contents of Hades with the peer-reviewed case study “Hell is Full of Fire.” Like the song title and self-same chorus, the accompanying video is charmingly direct. Here’s the band playing in a garage or small club setting. Here they are drinking in a cemetery at night. Back to the band playing. Back to the cemetery, where they’ve somehow lit a grave on fire. Band playing. Someone brought a scythe to the cemetery and it’s on fire. Ope, hard to play that guitar when it’s on fire. The whole thing is lit low but warm and looks well shot for what it is.

Demiser are a metal throwback in spirit: hard drinking, fast playing, “Fuck yeah/you!” attitude. They’re a throwback in sound too, in that way only newer bands blend a bunch of throwback sounds into a sticky paste of pastiche. This is blackened thrash with a deep vein of NWOBHM combining the likes of Overkill, Motörhead, and Gorgoroth. “Feast” kicks things off with a very “Painkiller”-esque drum intro followed by sinister riffage and lightning-fast fret-work. It sets a blazing pace that rarely lets up over the next 40 minutes of vicious axe-wielding (Gravepisser, Phallomancer, and Defiler) and machine gun time-keeping (Infestor) while Demiser the Demiser holds court with his blackened shouts. Lyrical themes are mostly of the blasphemous variety, with memorable declarations of damned-ness in “Feast” (“All! Hell! Now! Opens wide!”), “Hell is Full of Fire,” and “In Nomine Baphomet,” but they do take a break from hailing Satan to talk about driving motorcycles real fast in the delightful “Carbureted Speed.”

All this results in a comfort food metal album that’s more fun than a Hell themed roller coaster with dangerously loose safety bars. I defy any metalhead, regardless of sub-genre preference, to keep their figurative pants on when the guitar solos hit in “Feast” or to keep their invisible fruit in their pockets when Demiser the Demiser declares “Hell! Is Full! Of Fire!” Slave to the Scythe is best when it keeps the gas pushed all the way to road pavement, which it does a lot, but the addition of a foot-stomping bop and some surprising melodicism elevates “Phallomancer the Phallomancer” to the position of album highlight. After the debut included the memorable “Demiser the Demiser,” the next record better give Gravepisser and Defiler their own eponymous ditties or else feelings are going to get hurt.

My issues with Slave to the Scythe are all relatively minor. When played front to back, the title track falls a little flat compared to the two rip snorters that sandwich it. As for the acoustic interlude, it’s nice enough and it adds to the 80s thrash vibe, but I quickly began skipping it after the second spin or so. The record is in no way overstuffed at a blazing 40 minutes, but final track “In Nomine Baphomet” stands out for being 8 minutes long, and it does go a bit mushy in the middle of that run time. Thankfully, these moments do little to detract from a record where even second-tier tracks like “Total Demise” or “Infernal Bust” have stank-face riffs and drive-it-like-it’s-stolen energy.

Demiser are a band who know who they are. They aren’t reinventing the wheel, but they are putting it on the front of a motorcycle and driving it recklessly. If you were a fan of their rollicking debut Through the Gate Eternal, you’ll get more of the same breakneck goodness on Slave to the Scythe. Given the talent involved here, I expect they’ll just keep churning out albums of sack-whipping blackened thrash for years to come.

Rating: 3.5/5.0
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Metal Blade Records
Websites: demiser.bandcamp.com | facebook.com/demiserofficial
Releases Worldwide: August 23rd, 2024

#2024 #35 #AmericanMetal #Aug24 #BlackMetal #BlackenedThrash #Demiser #Gorgoroth #HeavyMetal #MetalBladeRecords #Motörhead #Review #Reviews #SlaveToTheScythe #ThrashMetal

For #BlackMetalMonday by @HailsandAles:

#1349: The God Devourer

https://song.link/s6xwc8bdnpw3m

#TrveBlackMetal

FFO #Gorgoroth #Veilburner #Watain

Ich wünsche mir Regen.

1 Kubikmeter Trinkwasser kosten in Berlin 1,81 € incl MwSt.

Frodo hat Durst.

Stellt endlich Getränke raus.

#Gorgoroth

#Spatzencontent #Habibis #Vögel
#Gebäudebrüter #NatureCommunity
#Insekten #WasserUnserLeben #Berlin

Ich wünsche mir Regen.

1 Kubikmeter Trinkwasser kosten in Berlin 1,81 € incl MwSt.

Frodo hat Durst.

Stellt endlich Getränke raus.

#Gorgoroth

#Spatzencontent #Habibis #Vögel
#Gebäudebrüter #NatureCommunity
#Insekten #WasserUnserLeben #Berlin

Ich wünsche mir Regen.

1 Kubikmeter Trinkwasser kosten in Berlin 1,81 € incl MwSt.

Frodo hat Durst.

Stellt endlich Getränke raus.

#Gorgoroth

#Spatzencontent #Habibis #Vögel
#Gebäudebrüter #NatureCommunity
#Insekten #WasserUnserLeben #Berlin

Ich wünsche mir Regen.

1 Kubikmeter Trinkwasser kosten in Berlin 1,81 € incl MwSt.

Frodo hat Durst.

Stellt endlich Getränke raus.

#Gorgoroth

#Spatzencontent #Habibis #Vögel
#Gebäudebrüter #NatureCommunity
#Insekten #WasserUnserLeben #Berlin

ACOD – Versets noirs Review

By Dr. A.N. Grier

How I’ve never known about France’s ACOD is beyond me, and I heartily apologize to them because I’ve been having a hella good time with many of their releases. Beginning their career as a black/thrash outfit with metalcore tendencies, they began to explore Mephorash-meets-Septicflesh territories around the time of their 2018 release, The Divine Triumph. While there are thrashy moments, the songwriting is now predominantly massive string atmospheres, marching drumbeats, cranked-up bass work, and riff after motherfucking riff. Each song is a rollercoaster ride, continuously rising and falling throughout, leaving you wondering which pain level you’ll hit next. As of 2002’s mighty Fourth Reign over Opacities and Beyond, the band has been led by two founding members Fred and Jérome—the first lending his voice to these opuses and the second doing… well, everything else. But does Versets noirs have what it takes to widen the expanse left behind by its predecessor?

Versets noirs continues where Fourth Reign over Opacities and Beyond left off. But, its structure and delivery are very different from anything they’ve done before. Typical releases are in the forty to fifty-minute range with nine to thirteen songs each. Instead, Versets noirs consists of five (I repeat, five songs) in forty-two minutes, with a heavy cover of Samael’s classic “Black Trip” closing it out. But, it’s not like a typical bonus cover inclusion as it fits the album well, and closes it out perfectly. Aside from that, they also made a bold move by beginning the record with a twenty-plus-minute opening track. Freddy Boy also digs deeper into his vocal repertoire to add more diversity than the previous album, without going into the weirdness of their older material. All this combined makes Versets noirs probably the most unique release in ACOD’s fifteen-year career.

“Habentis Maleficia” begins with some slow, growing dissonance that settles into a smooth groove when the vocals surface. It’s a gigantic piece that includes rasps, French spoken-word segments, and booming cleans on the back end. Its foundation revolves around constant builds, falls, and rebuilds—morphing from one emotion to another. At one point, we are charging through Gorgorothian melodies and concrete-splitting black metal assaults. And, the next, we are soothed with calming piano work and string atmospheres. There are moments of impressive dual guitar work where, when played on headphones, each ear is combated by a different lead. And, sometimes, the bass rises above the foam to take charge in popping, rumbling beauty. On the back half, you’ll even find death assaults with vocals pulled deep from the diaphragm, and even a short passage where the band ventures into Southern, Pantera-esque territories. It’s a fucking wild ride but when its melodic climb to the final summit comes, it’s well worth the wait.

“The Son of a God (The Heir of Divine Blood)” is probably my favorite, kicking hard with a killer riff and guitar tone that reminds me of earlier Old Man’s Child. When it settles into its groove, the vocals match its step nicely to deliver a headbangable experience. But for all its aggressiveness, the song ventures into melodic atmospheres, alternating moods from wanting to rip one’s face off to wanting to cry. When the bass takes the reigns, we soar to new heights. During these moments, the atmosphere reaches the clouds, intermingling rasps with big, booming cleans as the piano surfaces and engulfs the entire thing in hopeless melodies. But, “May This World Burn” has to be the most unique piece on the album. It takes all the elements of the previous tracks and adds even more. Misleading you with some soft strings in the intro, it transitions to the most badass riff on the record. Between the flailing guitars and hard-hitting drums, this thing is ferocious. Then, it gets really interesting as the dual guitar work passes from Mors Principium Est influences to old-school Arsis death/thrash territories. But, after pulverizing you for seven-plus minutes, it concludes in the same beautiful fashion as it began.

As a whole, I prefer Fourth Reign over Opacities and Beyond to Versets noirs. But that doesn’t mean this new record is any less engaging than its predecessor. The fact that it continues where the previous one left off is exactly what I wanted from ACOD. It’s a forward movement on a sound and songwriting style that fits the band far more than the black/thrash days of Point Zero and First Earth Poison. With a rich master, every instrument finds its place in every moment of every song. The massive amount of riffs is shocking, the performances are tight as Hell, and the aforementioned vocal diversity lends well to the album’s overall theme. Perhaps they could have concluded the record with an original track, but the Samael cover does add texture to the record. If you like big, black metal atmospheres and wild, cross-genre influences, this album is for you.

Rating: 3.5/5.0
DR: 7 | Format Reviewed: 320 kb/s mp3
Label: Hammerheart Records
Websites: acod.bandcamp.com | facebook.com/acodband
Releases Worldwide: April 26th, 2024

#2024 #35 #ACOD #Apr24 #Arsis #BlackMetal #DeathMetal #FrenchMetal #Gorgoroth #HammerheartRecords #Mephorash #MorsPrincipiumEst #OldManSChild #Pantera #Review #Reviews #Samael #SepticFlesh #VersetsNoirs

ACOD – Versets noirs Review

By Dr. A.N. Grier

How I’ve never known about France’s ACOD is beyond me, and I heartily apologize to them because I’ve been having a hella good time with many of their releases. Beginning their career as a black/thrash outfit with metalcore tendencies, they began to explore Mephorash-meets-Septicflesh territories around the time of their 2018 release, The Divine Triumph. While there are thrashy moments, the songwriting is now predominantly massive string atmospheres, marching drumbeats, cranked-up bass work, and riff after motherfucking riff. Each song is a rollercoaster ride, continuously rising and falling throughout, leaving you wondering which pain level you’ll hit next. As of 2002’s mighty Fourth Reign over Opacities and Beyond, the band has been led by two founding members Fred and Jérome—the first lending his voice to these opuses and the second doing… well, everything else. But does Versets noirs have what it takes to widen the expanse left behind by its predecessor?

Versets noirs continues where Fourth Reign over Opacities and Beyond left off. But, its structure and delivery are very different from anything they’ve done before. Typical releases are in the forty to fifty-minute range with nine to thirteen songs each. Instead, Versets noirs consists of five (I repeat, five songs) in forty-two minutes, with a heavy cover of Samael’s classic “Black Trip” closing it out. But, it’s not like a typical bonus cover inclusion as it fits the album well, and closes it out perfectly. Aside from that, they also made a bold move by beginning the record with a twenty-plus-minute opening track. Freddy Boy also digs deeper into his vocal repertoire to add more diversity than the previous album, without going into the weirdness of their older material. All this combined makes Versets noirs probably the most unique release in ACOD’s fifteen-year career.

“Habentis Maleficia” begins with some slow, growing dissonance that settles into a smooth groove when the vocals surface. It’s a gigantic piece that includes rasps, French spoken-word segments, and booming cleans on the back end. Its foundation revolves around constant builds, falls, and rebuilds—morphing from one emotion to another. At one point, we are charging through Gorgorothian melodies and concrete-splitting black metal assaults. And, the next, we are soothed with calming piano work and string atmospheres. There are moments of impressive dual guitar work where, when played on headphones, each ear is combated by a different lead. And, sometimes, the bass rises above the foam to take charge in popping, rumbling beauty. On the back half, you’ll even find death assaults with vocals pulled deep from the diaphragm, and even a short passage where the band ventures into Southern, Pantera-esque territories. It’s a fucking wild ride but when its melodic climb to the final summit comes, it’s well worth the wait.

“The Son of a God (The Heir of Divine Blood)” is probably my favorite, kicking hard with a killer riff and guitar tone that reminds me of earlier Old Man’s Child. When it settles into its groove, the vocals match its step nicely to deliver a headbangable experience. But for all its aggressiveness, the song ventures into melodic atmospheres, alternating moods from wanting to rip one’s face off to wanting to cry. When the bass takes the reigns, we soar to new heights. During these moments, the atmosphere reaches the clouds, intermingling rasps with big, booming cleans as the piano surfaces and engulfs the entire thing in hopeless melodies. But, “May This World Burn” has to be the most unique piece on the album. It takes all the elements of the previous tracks and adds even more. Misleading you with some soft strings in the intro, it transitions to the most badass riff on the record. Between the flailing guitars and hard-hitting drums, this thing is ferocious. Then, it gets really interesting as the dual guitar work passes from Mors Principium Est influences to old-school Arsis death/thrash territories. But, after pulverizing you for seven-plus minutes, it concludes in the same beautiful fashion as it began.

As a whole, I prefer Fourth Reign over Opacities and Beyond to Versets noirs. But that doesn’t mean this new record is any less engaging than its predecessor. The fact that it continues where the previous one left off is exactly what I wanted from ACOD. It’s a forward movement on a sound and songwriting style that fits the band far more than the black/thrash days of Point Zero and First Earth Poison. With a rich master, every instrument finds its place in every moment of every song. The massive amount of riffs is shocking, the performances are tight as Hell, and the aforementioned vocal diversity lends well to the album’s overall theme. Perhaps they could have concluded the record with an original track, but the Samael cover does add texture to the record. If you like big, black metal atmospheres and wild, cross-genre influences, this album is for you.

Rating: 3.5/5.0
DR: 7 | Format Reviewed: 320 kb/s mp3
Label: Hammerheart Records
Websites: acod.bandcamp.com | facebook.com/acodband
Releases Worldwide: April 26th, 2024

#2024 #35 #ACOD #Apr24 #Arsis #BlackMetal #DeathMetal #FrenchMetal #Gorgoroth #HammerheartRecords #Mephorash #MorsPrincipiumEst #OldManSChild #Pantera #Review #Reviews #Samael #SepticFlesh #VersetsNoirs

ACOD – Versets noirs Review

By Dr. A.N. Grier

How I’ve never known about France’s ACOD is beyond me, and I heartily apologize to them because I’ve been having a hella good time with many of their releases. Beginning their career as a black/thrash outfit with metalcore tendencies, they began to explore Mephorash-meets-Septicflesh territories around the time of their 2018 release, The Divine Triumph. While there are thrashy moments, the songwriting is now predominantly massive string atmospheres, marching drumbeats, cranked-up bass work, and riff after motherfucking riff. Each song is a rollercoaster ride, continuously rising and falling throughout, leaving you wondering which pain level you’ll hit next. As of 2002’s mighty Fourth Reign over Opacities and Beyond, the band has been led by two founding members Fred and Jérome—the first lending his voice to these opuses and the second doing… well, everything else. But does Versets noirs have what it takes to widen the expanse left behind by its predecessor?

Versets noirs continues where Fourth Reign over Opacities and Beyond left off. But, its structure and delivery are very different from anything they’ve done before. Typical releases are in the forty to fifty-minute range with nine to thirteen songs each. Instead, Versets noirs consists of five (I repeat, five songs) in forty-two minutes, with a heavy cover of Samael’s classic “Black Trip” closing it out. But, it’s not like a typical bonus cover inclusion as it fits the album well, and closes it out perfectly. Aside from that, they also made a bold move by beginning the record with a twenty-plus-minute opening track. Freddy Boy also digs deeper into his vocal repertoire to add more diversity than the previous album, without going into the weirdness of their older material. All this combined makes Versets noirs probably the most unique release in ACOD’s fifteen-year career.

“Habentis Maleficia” begins with some slow, growing dissonance that settles into a smooth groove when the vocals surface. It’s a gigantic piece that includes rasps, French spoken-word segments, and booming cleans on the back end. Its foundation revolves around constant builds, falls, and rebuilds—morphing from one emotion to another. At one point, we are charging through Gorgorothian melodies and concrete-splitting black metal assaults. And, the next, we are soothed with calming piano work and string atmospheres. There are moments of impressive dual guitar work where, when played on headphones, each ear is combated by a different lead. And, sometimes, the bass rises above the foam to take charge in popping, rumbling beauty. On the back half, you’ll even find death assaults with vocals pulled deep from the diaphragm, and even a short passage where the band ventures into Southern, Pantera-esque territories. It’s a fucking wild ride but when its melodic climb to the final summit comes, it’s well worth the wait.

“The Son of a God (The Heir of Divine Blood)” is probably my favorite, kicking hard with a killer riff and guitar tone that reminds me of earlier Old Man’s Child. When it settles into its groove, the vocals match its step nicely to deliver a headbangable experience. But for all its aggressiveness, the song ventures into melodic atmospheres, alternating moods from wanting to rip one’s face off to wanting to cry. When the bass takes the reigns, we soar to new heights. During these moments, the atmosphere reaches the clouds, intermingling rasps with big, booming cleans as the piano surfaces and engulfs the entire thing in hopeless melodies. But, “May This World Burn” has to be the most unique piece on the album. It takes all the elements of the previous tracks and adds even more. Misleading you with some soft strings in the intro, it transitions to the most badass riff on the record. Between the flailing guitars and hard-hitting drums, this thing is ferocious. Then, it gets really interesting as the dual guitar work passes from Mors Principium Est influences to old-school Arsis death/thrash territories. But, after pulverizing you for seven-plus minutes, it concludes in the same beautiful fashion as it began.

As a whole, I prefer Fourth Reign over Opacities and Beyond to Versets noirs. But that doesn’t mean this new record is any less engaging than its predecessor. The fact that it continues where the previous one left off is exactly what I wanted from ACOD. It’s a forward movement on a sound and songwriting style that fits the band far more than the black/thrash days of Point Zero and First Earth Poison. With a rich master, every instrument finds its place in every moment of every song. The massive amount of riffs is shocking, the performances are tight as Hell, and the aforementioned vocal diversity lends well to the album’s overall theme. Perhaps they could have concluded the record with an original track, but the Samael cover does add texture to the record. If you like big, black metal atmospheres and wild, cross-genre influences, this album is for you.

Rating: 3.5/5.0
DR: 7 | Format Reviewed: 320 kb/s mp3
Label: Hammerheart Records
Websites: acod.bandcamp.com | facebook.com/acodband
Releases Worldwide: April 26th, 2024

#2024 #35 #ACOD #Apr24 #Arsis #BlackMetal #DeathMetal #FrenchMetal #Gorgoroth #HammerheartRecords #Mephorash #MorsPrincipiumEst #OldManSChild #Pantera #Review #Reviews #Samael #SepticFlesh #VersetsNoirs

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GORGOROTH Guitarist INFERNUS Hospitalized After Being Attacked At Recent Festival

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#Gorgoroth #Infernus # Hospitalized #Attacked #Festival #Rock

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GORGOROTH Guitarist INFERNUS Hospitalized After Being Attacked At Recent Festival

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#Gorgoroth #Infernus # Hospitalized #Attacked #Festival #Rock

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GORGOROTH Guitarist INFERNUS Hospitalized After Being Attacked At Recent Festival

https://metalinjection.net/news/gorgoroth-guitarist-infernus-hospitalized-after-being-attacked-at-recent-festival

#Gorgoroth #Infernus # Hospitalized #Attacked #Festival #Rock

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GORGOROTH Guitarist INFERNUS Hospitalized After Being Attacked At Recent Festival

https://metalinjection.net/news/gorgoroth-guitarist-infernus-hospitalized-after-being-attacked-at-recent-festival

#Gorgoroth #Infernus # Hospitalized #Attacked #Festival #Rock

The #blackmetal nostalgia hits hard this week, should probably not have watched that cringy "Lords of Chaos" movie last Friday...

Writing #sql atm and listening to early #Gorgoroth.
It's too hard to pick a favorite out of the first 4 albums, such consistency in their aggression. Would probably pick "Antichrist" just because of what it meant for my teenage self a long time ago.

Während kluge Menschen bei #Stadtplanung Tiere mit einplanen, langt der "Heckenscharfrichter" am Kottbusser Damm #kreuzbergstreets richtig zu. Geplant ist ein Blühstreifen, der bei der zu erwartenden Hitze im Sommer verglüht. Mit der Komplettrodung wurden mehrere Vogelkolonien geopfert 😡 💔 Foto rechts: Benjeshecke, Ecke Pfluegerstr. Grau zwischen dem Autoverkehr. Öde, tote, stinkende Orte #Gorgoroth #klimakrise #habitat
#Mainstreaming #BNatSchG #Artenschutz #Kreuzberg #Gebäudebrüter #spatz

Während kluge Menschen bei #Stadtplanung Tiere mit einplanen, langt der "Heckenscharfrichter" am Kottbusser Damm #kreuzbergstreets richtig zu. Geplant ist ein Blühstreifen, der bei der zu erwartenden Hitze im Sommer verglüht. Mit der Komplettrodung wurden mehrere Vogelkolonien geopfert 😡 💔 Foto rechts: Benjeshecke, Ecke Pfluegerstr. Grau zwischen dem Autoverkehr. Öde, tote, stinkende Orte #Gorgoroth #klimakrise #habitat
#Mainstreaming #BNatSchG #Artenschutz #Kreuzberg #Gebäudebrüter #spatz

Während kluge Menschen bei #Stadtplanung Tiere mit einplanen, langt der "Heckenscharfrichter" am Kottbusser Damm #kreuzbergstreets richtig zu. Geplant ist ein Blühstreifen, der bei der zu erwartenden Hitze im Sommer verglüht. Mit der Komplettrodung wurden mehrere Vogelkolonien geopfert 😡 💔 Foto rechts: Benjeshecke, Ecke Pfluegerstr. Grau zwischen dem Autoverkehr. Öde, tote, stinkende Orte #Gorgoroth #klimakrise #habitat
#Mainstreaming #BNatSchG #Artenschutz #Kreuzberg #Gebäudebrüter #spatz

Während kluge Menschen bei #Stadtplanung Tiere mit einplanen, langt der "Heckenscharfrichter" am Kottbusser Damm #kreuzbergstreets richtig zu. Geplant ist ein Blühstreifen, der bei der zu erwartenden Hitze im Sommer verglüht. Mit der Komplettrodung wurden mehrere Vogelkolonien geopfert 😡 💔 Foto rechts: Benjeshecke, Ecke Pfluegerstr. Grau zwischen dem Autoverkehr. Öde, tote, stinkende Orte #Gorgoroth #klimakrise #habitat
#Mainstreaming #BNatSchG #Artenschutz #Kreuzberg #Gebäudebrüter #spatz

Während kluge Menschen bei #Stadtplanung Tiere mit einplanen, langt der "Heckenscharfrichter" am Kottbusser Damm #kreuzbergstreets richtig zu. Geplant ist ein Blühstreifen, der bei der zu erwartenden Hitze im Sommer verglüht. Mit der Komplettrodung wurden mehrere Vogelkolonien geopfert 😡 💔 Foto rechts: Benjeshecke, Ecke Pfluegerstr. Grau zwischen dem Autoverkehr. Öde, tote, stinkende Orte #Gorgoroth #klimakrise #habitat
#Mainstreaming #BNatSchG #Artenschutz #Kreuzberg #Gebäudebrüter #spatz

Time for #Gorgoroth https://www.youtube.com/watch?v=sLW4n4AIHk8