Ihsahn "Ihsahn" (2024)

With the ominous lurch of self titled significance, esteemed musician Ihsahn, formerly of Emperor notoriety, returns on ambitious footing. Forging symphonies of Classical proportion, not just simple complimentary arrangements, we venture with restrained Extreme Metal aesthetics. Throaty screams and heavy percussion pave the way for swells of strings and orchestral instruments to land the powerful impact he would have once manifested through guitars on the likes of an Anthems To The Welkin At Dusk.

With colorful Jazzy inflections and Prog Rock inclinations, these dreary, sombre, atmospheric venture in a tangle between misty melancholic moods and multifaceted, mercurial melodies. Lead guitars often cut through this rich symphonic layer, playing a second expressive voice to the routine groans of Ihsahn's one dimensional cries.

The union of such musical depth and rhythmic force makes for consistent engagement as musical tugs between its two hearts dance a line that doesn't strike sublime balance, often leaning on Metal tropes. Anima Extraneae is a keen example of Classical influences painting scenic beauty without the cage of aggression. These moments are relegated to interludes, however that richness routinely emerges in breaks between the lonely, dark, brooding tangents Ihsahn frequently explores.

When breaking into a stride of glory, the uplift of his steely clean voice is a welcome delight. These pivots empower his symphonies with comforting gleams of colorful resonance, venturing close to something special but never quite fully committing. Despite hearing this inkling of greatness, Ihsahn is a powerful record, brilliantly composed and thoroughly engaging with its vision of dark and beautiful worlds.

Rating: 7/10

Dimmu Bongir "Dark Medieval Hash" (2024)

 

After running the For All Tid playbook, our comedic stoners return with an incremental progression on the nostalgic 90s sound I adore. Muddying up the parody, Satyricon's debut takes thematic focus in name and cover art alone. With Dark Medieval Has, these musicians start to express their own ideas. Chunky distortion riffs and majestic keyboard melodies not so easily identified, emerge from the evil dusky aesthetic. 

The apple doesn't fall far from the tree, little surprise awaits in construct or design. We essentially embark on another dark venture through the mystical imaginations of these rebellious Norweigns, inspired by paganism, the occult and merciless frozen forests.

Certain songs hit harder than others. Pipens Åpenbaring has a wonderfully esoteric synth melody at its opening. With a rather ambitious climax, the song amasses rich sinister organs. Along its way, a Spanish acoustic guitar is introduced, much like Old Man's Child once incorporated its brittle tone to the Black Metal architecture.

A Witch Is Stoned wins the "best song" competition. A clear favorite with a powerful, magical, mischievous synth hook. The keyboard riff toys with low to high dynamics reminiscent of Dimmu Borgir's Spellbound By The Devil. Its guitar solo, intentionally jarring, scratchy and shrill, also feeling reminiscent of that landmark record.

Dark Medieval Hash has been a blast but also shows this band can do more than just emulate. I hope they continue to expand on this nostalgic revival and perhaps venture into new terrain from that different point in time. If they simply continue with this formula, I will be entertained either way. Great stuff!

Rating: 7/10

Dimmu Bongir "Hvis Pipen Tar Oss" (2023)

 

 

What on earth is this? A stoner's parody of my beloved Dimmu Borgir? Perfect! Well, that's actually so... what comedic kicks are discernible through throaty howls and song titles, like Bongblåst, plays second fiddle to the music. The greenthumb humor is clearly an excuse to revel in early Symphonic Black Metal, which I happen to adore. With a rough around the edges production, Bongir capture the nostalgia in a bottle.

 

Reworking the For All Tid playbook, no surprises fluster this listener. Hvis Pipen Tar Oss plays a familiar beast, writing new incarnations steeped in its ancient architecture. Occasionally they encroach on plagiarism with a riff or melody, most notably with the opening guitars of Røk hans pip. Piano interludes, dingy acoustic guitar breaks and deep heathen vocals drop in Norwegian tongue just like Borgir did in their early days.

 

 Pagan Rips, a reference to Mayhem, holds astral swirly melodies and potent tunes uncannily close to The Kovenant. Its main hook a clear lift from the classic Bizzare Cosmic Industries. A win for this adoring fan but this does question what should classify as a cover or original? The song does eventually deviate in its own direction.

Another standout, Transylvanian Munchies, pays tribute in parody alone, to legends Darkthrone, who didn't venture into the Symphnoic avenue themselves. Its the one song where stars align. Throaty growls groan at just the right intensity to get its comical lyrics across. "And I'm Still Hungry" punchline a silly delight to smirk upon.

These appropriately named musicians Gahll, Tjalladdin and the all too obvious Hashiah, have done a stellar job resurrecting a niche sound with both passion and vigor. The project is clearly a love letter to this forgotten era. Their keyboard tones feel especially well selected, giving the record a soft freshness on that front.

Hvis Pipen Tar Oss has been a delight, a nostalgic reinvention reminding me of recent discovery Këkht Aräkh. Perhaps I should invest more time in seeking out other millennial musicians obsessed with 90s Black Metal. It never occurred to me that comedy could be a convenient excuse to launch such a project. Dimmu Bongir have done it to great effect and fortunately for me, another album lays in wait!

Rating: 7/10

Ulver "Locusts" (2024)

 

With a strident return to form, Ulver delivers again on his intelligent renditions of matured Synthpop. After a couple of shaky releases, Locusts rediscovers balance. Steeped in dusky atmospheres, classy compositions layer up dreamy instrumentation for his voice to shine like a light guiding the way forward. Steady baselines peruse and pristine keyboard tones shimmer in a dense dance, lush and brim. Melodies play fractured, subdued, diverse, allowing emotion to amass from its parts, without steeling focus from our front man who steps into the stage light, suited up and proper.

Its a smart, intelligent set of songs with a soft city nightlife vibe reminiscent of an older generation. Accents of New Wave, Art Pop and Dance music show distinctive influences, perfectly reworked to suit this breezy pace. The record stars slow and withheld, a minimal take on the formulae to come. The opening title track lunges into its big synth kicks towards its conclusion but the proceeding Nocturne #2 reminded me of Peter Gabriel, a Worldbeat influenced tangent slow and meandering. Its a great conjuring of softly esoteric mood yet halts the show from starting somewhat.

The other installment of Nocturne interjects between these snugly paired songs with a broody rendition of droning synths. Powerful, dark and dreary yet adrift from the records overall tone. The rest of its songs play an effortless pleasure, dazzling and soulful in their own way. Very enjoyable yet feels a little light in variety. What detours it does offer drift from its solid foundations. Curation is possibly its culprit.

Rating: 6/10

Aurora "What Happened To The Heart?" (2024)

 

 What Happened To The Heart will likely be my album of the year. I've sat on this one for months, hitting a curious writers block when wanting to put my emotions to words. Initially the record seemed transient, subdued yet as familiarity crept in, a magic emerged from its dreamy charm. A sleepy aura persists throughout, songs teeter on cloudy ambiences, percussion softened as Aurora dances with her voice like an angel emerging from a soothing fog. So often does this enchanting music lure you into its passive persuasion, pivoting temperament to lunge into passionate swells of harmony.

This talented cast of song-writers and producers pay quite the compliment to her strengths. Songs flash suggestions of Disco, Synthpop and Electronica, all bellowing out there aesthetics through the atmospheric power of understated rumblings. These more obvious influences linger in the shadows of airy reverberations and soundscape design. These compositions blur boundaries, whipping one up in a feverous dreamy momentum led by Aurora, who often arrives in tandem with herself. Layering up her fantastic vocal ranges, an enchanting sway unravels that is utterly contagious.

The mid record stretch often feels spiritual, tribalistic, as surges of steady deep bass percussion drives wordly tones and burred melodies with suggestions of broadened cultural horizons. The opening and closing phases hold the animated tracks that pivot into House, Dance, Techno and Indie Pop with broad creative strides. There stylistic emergence from the ether, alongside such a spectacular voice, gives the whole record a magic I've felt with other artists but barely in this unique avenue. With Aurora's voice on full croon, I feel swallowed up by her immaculate performance. This record is a gem you don't want to pass up, undoubtedly her most inspired music to date.

Rating: 9.5/10

 

Gothminister "Pandemonium II: The Battle Of The Underworlds" (2024)

 

Excitement swiftly squashed, another cast iron installment diminishes my faith once again. In retrospect, my expectations were unreasonable, considering this is a direct follow up to Pandemonium. Unable to grow past this Gothic symphonic Trance fusion with Rammstein style Industrial Metal, Gothminister recycles their blueprint with even less pizzazz than usual. Scenic interludes play underwhelming, attempting to raise theatrical stake yet any deviation from the tested formula sadly felt stale.

 The word of the record is "we". More so than ever, this perspective illuminates itself, a Gothic horror inspired realm of witches, demons, ghouls, zombies and monsters of the underworld. These flag waving war cries paint a protagonist's voice for these unsavory beings, rallying them together in the shadows. Its fun but at this point driven into the ground. Repeated lyrical cadences and thematic stagnation churn the whole anthemic angle into rigmoral, as track after tracks repeats itself with little new to offer.

When bands fail to evolve, they run the risk of writing themselves into a corner. It's a shame, a few albums back they hit a nerve. That spark is lost. Every song here lingers in its shadow, saying nothing new and often making you feel a sense of Deja-Vu.

Rating: 4/10

Dimmu Borgir "Inspiratio Profanus" (2023)

 

Far beyond the prime of their active years as a band, Dimmu Borgir blow the dust of old covers alongside new offerings. Its a release of minimal commitment, something to give fans in the meantime between Eonian and whatever comes next. Kicking off with Venom's classic Black Metal, an aging Shagrath offers mid ground between his own vocal extremities and the throaty shouts of that early 80s evil cheesiness.

Its such an obvious choice that's been done to death by many Black Metal bands over the years. Dimmu add little to the conversation. The vicious, blood soaked Satan My Master, from Death Cult Armageddon, still holds its cutthroat aggression and howling menace. The contrast highlights a chasm between past and present. With the rest of the album intermingling old a new, its a similar story with its two new covers.

Dead Men Don't Rape looses much of the originals stark and confronting nature. A harsh Industrial unsettling atmosphere descending through its unforgiving whispered lyrics, Dimmu's atmospheric cushion undoes that. An all to welcoming track within the Extreme Metal context. Its not all bad tho, between some cracking covers of old, Deep Purple's Perfect Strangers gets a fine treatment as the band twist its anthemic march with a darker stride that retains the power of the originals riffs and organs.

Rating: 3/10

In The Woods... "Diversum" (2022)

 

Reveling in glum and stormy scenery, drizzly guitars moan and slumberous singing swoons to be routinely assailed by gleams of heathen melody. Diversum is another glorious gallop through the rainy seasons of Scandinavian inspiration. Now three albums deep into Anders Kobro's unlikely resurrection of a historic yet niche Black Metal outfit, five years pass for In The Woods to return with a familiar tone and theme.

Exploring the relationship between shrill guitar distortions and dreary acoustic melodies, burly melodic singing and howling screams, careful grooves and flurries of blast beats, its craft is a familiar one. Ancient story telling and natural scenery, elicited through dynamics as plunges of aggression and abrasion sway in torment of its tuneful appeal, always sullen and bordering on the bleak. It allows for many a gratifying moment as relief from key persuasions that arise from gloomy tensions.

Occasionally they delve into the metallic fray, focusing on a grizzly groove or mean scream. Otherwise its best comes from the melancholic wallow as its uplift feels locked in a wet naturalist hardship. Overall Diversum has the lighter composition, yet an aching moody temperament. Kobro's tamed voice soaring is a beacon shining through fog yet in his stride, a uncanny Mastodon resemblance often emerges.

Despite a welcoming duration and competent execution, this one somehow shies from greatness as the dreariness drowns out the catchy music wedged between its dynamics. It doesn't fire on all cylinders. For all the welcome familiarity for a band I'm fond of, the spins started strong but waned as familiar footing fumbled to dig in deep. An enjoyable experience in bursts, but one that lacked legs to go the full distance.

Rating: 6/10

Enslaved "Heimdal" (2023)

Although finding myself not particularly in the mood for Metal as of late, Enslaved's track record of recent years had me curious at the least. No longer the same cult Black Metal band born among the Norwegian chaos of the 90s, they have continued to offer intrigue and magic as matured musicians. The once teenage founding friends Kjellson and Bjørnson are still going strong, now on their sixteenth full length!

Heimdal offers up a curios contrast of harsh excursions that drift, pivot and meander into uplifting spells, often spearheaded by its symphonic instruments, clean vocals and brighter compositions. Once accustom with its dances, the bleak distortion tones and gruff throaty howls that accompany bite less with knowledge of their destination.

Congelia possesses my favorite enchantment, marching forth, relentlessly. Stiff, ugly, grim riffs dance against hypnotic palm muted chugging. A harsh drive that is suddenly flipped, simply entrancing upon the arrival of gleaming keys. Its spacey melody echos with subtle psychedelic ping pong fade, transforming the song from its bestial grind.

The following Forest Dweller takes a different approach, starting with the lull of its soft atmospheric folk. Conjuring visions of a harder life, in endless wilderness, among ancient spiritualists. Suddenly, the music whips up into a frenzy of hasty roaring aggression, plundering us into a whirl of riffs, reminiscing classic Black Metal ideals.

As the album grows, more of its Progressive and melodic approaches get pinned against their extreme unruly origins, a dance across the fire, flirting with the prospect of getting burn. The variety is gratifying. A fascinating fluid chemistry among obvious contrasts. The Eternal Sea is another keen example. In one moment its sea bearing temperament of adventure, uplifting and glory, propelled by heathen singing ascends. In the next, its as if the world has been set ablaze by demonic forces of old. Heimdal is a worthy listen, these seasoned musicians continue to provide luminous music, managing to say a lot among sounds tired in the hands of others.

Rating: 7/10

Dimmu Borgir "Dust Of Cold Memories" (2022)

 

With a lyric plucked from Absolute Sole Right as its title, Dust Of Cold Memories accompanies the recent Remixed & Remastered celebration of Puritanical Euphoric Misanthopia. Comprised of two halves, The Kolbotn Tapes and Prepod Session, these aged, degraded demos offer a curious insight into the albums creative process. The five Preprod songs are most intriguing. Recorded before all elements had converged, they play with many missing pieces and placeholders around its core musical ideas.

One of the PEM's finest crafts, Blessings Upon The Throne Of Tyranny, stands apart in its nakedness, the arsenal of razor grinding riffs completely absent. Hearing it at this stage illuminates their creative process. We see etchings of inspiration converge not unlike how you might of expected. With such a riveting rhythm guitar performance, I would of strongly guessed it was central to its formation but apparently not so. The other tracks aren't as insightful. One can hear absent contributions and entirely dropped ones too but mostly these songs arrived at this stage relatively fleshed out.

Of the Koltbotn Tapes, Fear & Wonder stands rather distant from its final incarnation with a persistent militant snare and bare piano chords. The other five arrive in varying fidelity. Loud clicking drums, occasional shouts and voices are heard, along with roomy rehearsal room ambiences being a common trait. With the songs fully formed out this point, they simply play like demos prepared before entering the studio.

Rating: 4/10

Dimmu Borgir "Puritanical Euphoric Misanthropia (Remixed & Remastered)" (2022)

 

You'd be hard pressed to get me excited about a remaster or anniversary release. My radar for its release was off, given the prior Puritania Kolbotn Tape was little to marvel at. It was only with a nudge from a friend that I leapt to check this project out. Not only a remaster of Puritanical Euphoric Misanthropia, its "remixed" naming has given the band creative license to expand the aesthetic pallet with sparkly new embellishments, adding a little spice to a familiar flame. Initially, it sounded utterly brilliant, an invigorating listen but is simply the magic brewed between enjoying a masterpiece.

With the dusts of adrenaline settling, its clear my excitement resonated from the familiar genius music I adore. Its polished edges and sprinklings of additional new instrumentation never steers the song writing to new avenues. Perhaps with one single exception, Shagrath's vocal treatment makes him far more audible on Puritania. Something about it has an edge. Otherwise, much of the music remains intact with a few guitar leads seemingly given extra notation, unearthed or added its not quite clear.

So whats changed? The mix is expansive, more room to breath and enjoy its textures. The drums are crisp and punchier, the battering of Barker's blast beats compliments, rather than imposes the demanding pace. Rhythm guitars remain mostly as is. It sounds as if the other instruments have given it more space, sounding mostly the same, its leads have a little more gloss and flair tho. Where most the action happens is with the Symphonic component. Practically every synth has been given new life. Either better sound banks or recordings of stringed instruments they sound revitalized.

Across the record, one will hear a few additional sounds, some previously smothered and others clearly new. Synth tones, stringed instruments and soft horns arose but most notably an effeminate voice chiming with Shagrath on Architecture Of A Genocidal Nature. That and the creepy haunting chorals that lurch through a few brief instances. None of it amounts to much more than enjoying the passing novelty.

Ultimately, its a fun reason to enjoy an old album again but is it necessary? Compared to the original recording, the limitations of the times are clear. All changes here beyond remastering are a good fit, however the song writing is champion. If you'd spin the original I'd still enjoy it just as much. Obviously Puritanical Euphoric Misanthropia a ten but on the merits of what this project brings, It's hard to argue too much is gained beyond the initial novelty. This is certainly not a folly that's for sure!

Rating: 6/10

Gothminister "Pandemonium" (2022)

 

With age comes a diminishing pace. Now five years apart from The Other Side, Gothminister makes a meager return. Seemingly stuck in their ways, this seventh outing suffers its own lack of inspiration. Pandemonium breeds business as usual. A deck of songs, recycling their Gothic brooding theatrics, still tinged with clubbing Synthwave aesthetics and built on the triumphant march of chunky Industrial Metal.

Guitar leads brazenly assail stomping power chords chugging below, a militant syncopation by the rhythm section. With darkly drive, each song lunges forth with a cadence Bjørn Brem has performed before. Lyrical themes echo past musing of outsiders embattled against all odds. Both sentiment and delivery fit an unchanged mold. Lined by rhythmically oscillated synths, both aesthetic and music is expectant.

Getting off to a rocky start, Pandemonium's opening title track toys with an experimentation. The percussion drops convention in favor of unsettled grooves, attempting polyrhythms but seemingly out of step with the rest of this music. Its an odd impression for a record that has absolutely nothing new up its sleeves. Despite being of my liking, a lack of anything fresh lands this one as a disappointment. Although its a fair execution of the Gothminister sound, I'm left with little reason to return again.

Rating: 5/10

Mortiis "Ånden Som Gjorde Opprør" (1995)

 

Enjoying a spontaneous plunge into Dungeon Synth origins, we conclude for now with Mortiis' sophomore record. Released earlier in the same year as Keiser Av En Dimensjon Ukjent, it seems substantially maturer of the two. Mortiis, now professing himself as a Tolkein troll on the albums cover, takes a darker route with the music. Stoic, castly vibes permeate its mellow enchantment, as the former fantasy flutes give way to dusky winds and morose organ tones that lurch with a lingering gloom.

On this outing, the instrument selection is ripe, often dense with brooding strings that overlap, its tones have a crowded space to hide the blemishes of its electronic origins under its fidelity lacking production. The low end is thickened out dramatically and when Orkish militant parades pound their unruly drums, a grand mystique is unearthed, a wondrous mix where the performance's inadequacies embellish its spirit.

This is at least true of En Mørk Horisont, Its five chapters traverse vivid soundscapes of darkly fantasy realms, ushered on by the weighty gravitas of deep gong strikes. Visjoner Av En Eldgammel Fremtid experiments initially. More spoken dialog and breaks in tone has its direction muddied before settling into a predictable pace. It gradually builds grandiosity to a victorious trumpet fanfare in its final three parts.

Of all the Dungeon Synth precursors Ive encountered, this felt the most emblematic of what was to come. Mortiis, clearly inspired by Fantasy and Tolkein, lay down rich foundations for others to build from, that would eventually transform into a scene fifteen years later. I had not studied his works attentively before. Now the link is all to obvious but best of all, his music strides boldly into the imagination with stunning vividness. This is no embryonic endeavor but a fully expressed vision.

Rating: 8/10

Mortiis "Keiser Av En Dimensjon Ukjent" (1995)

Reviving his past aspirations with the recent Spirit Of Rebelion, I sought out a piece of the origin story that inspired so many within the Dungeon Synth scene. As one of the Norwegian musicians earliest incarnations, Keiser Av En Dimensjon Ukjent has strong similarities. Comprised of two twenty minute lengthy halves, split into lesser parts, the pairing adventures journey through naturalist, nostalgic imaginations. A breezy spirit for magical adventure and gentle mystique guide the listener along is pleasantries.

The glimmer of yearning strings and playful flute melodies glides over broodish bass warmth. Occasionally bumbling into gustos of castled might and sampled bellowing voices, the title track sails sweetly in the uplift of its welcoming tone. Mischief is beyond sight, however Reisene Til Grotter Og Odemarker finds a devilish grandeur as mysterious choir tones and rumbling percussive strikes chance a little unease.

Eventually circling back around to its brighter persona, part three embarks on a classic, triumphant deceleration of Orkish nature. Freshly unveiled trumpets roar for battle, as deep drums thump the pacey march to war. Its darkness is one of theatrics, the imagination run wild with a strong whiff of Tolkein steering its sequestered charms.

Its a wondrous piece of music for the time. No doubts I once gave it a listen but never made the connection in my youth. Now its gift to Dungeon Synth seems simply undeniable. A lot of its charm emanates from a flawed human performance. The creeks and groans of imperfection, its natural, organic fidelity, aid the immersion. It masks repetitive structures and highlights the gulf a digital MIDI and VST driven project like Spirit Of Rebelion suffers as a result of lacking these perfect imperfections.

Rating: 7/10

Mortiis "Spirit Of Rebellion" (2020)

Somewhat stiff, direct in execution, Mortiis' so called embrace of Dungeon Synth feels a step behind the ruinous, mystic wonders he helped inspired. Often sighted as a precursor to the movement, the Norwegian musician often remarked indifference to his obvious influences. This castley affair of medieval fantasy pumps might, magic and vitriolic spirit from its bold and cheesy synths. Alongside fractures of foggy, murky key tones, an aesthetic veneer glimmers in its own reflection. The unshaken instep march of looped melodies, perfectly aligned in MIDI notation, evaporates the humanity.

Its first half, A Dark Horizon, toys with the moody abandon. Gentle tempered spirits of estranged worbling VSTs venture on lonely meandering journeys, intermittently struck by thuds and drum strikes. Its lonely, occasionally frightful but mostly shy of striking a nerve. With a barer construct, its repetitions become a blemish of its pristine presentation. Simplistic looping melodies swiftly a gnawing gripe, sucking charm and magic other low fidelity production aesthetics of the genre would offer.

Visions Of An Ancient Future embarks on ambitious conquests. Deep gongs, perpetual echos of militant percussion and a stoic stature march forth with the might of glorious battle horns guiding its way. The shift from esoteric curiosity to kings and castles would make for an interesting record if both halves did not endure the lifelessness of such stiffly executed virtual instrument performances. In a nutshell, appealing ideas but a lack of immersion.

Rating: 4/10

Kalandra "Beneath The Breaking Waves" (2017)

 

Seeking more of The Line's immense serine soundscapes has led me here. Beneath The Breaking Waves is lacking its keen persuasion. After many spins, the scent ruminates like a "warmup" EP, a group finding their footing. Released three years prior to their debut, the magic is either sequestered of lacking entirely. Don't get me wrong, this folksy six track charmer cruises in a parallel lane but the chemistry is yet to be arrived upon. Each musician brings beautiful sounds, textures and craft to their parts.

Lacking the drive to swell and croon together like a symphony, much of the music lays its ideas bare. Padded by interludes and gentle atmosphere building, the feistier surges and potent melodies are brief sparks in fields swept by the drab calms that simmer in their own quietness. Unlike the experience of encroaching growth that came with each listen on The Line, these tracks tired quickly. It seems the components are in place but missing an inspiration to bring Kalandra to life, I'm glad they found it.

Rating: 4/10

Kalandra "The Line" (2020)

 

This gem almost went amiss. Its subtleties slithered to a silence, a withdrawn instrumental softness letting this listener go by. Lacking gusto, bite or immediacy, only the striking resemblance to fellow Nordic queen Aurora held me in. If not another charmed, utterly gorgeous voice, the likeness would border plagiarism. Timbre, temperament, flow and inflections all swoon like a deja-vu. Its why I stuck around. With each listen I felt further from the words I initially wanted to share in this space.

The Line is a record of awe inducing landscapes, the resonance of which expressed aptly through its album art. Crimson skies lurch, whispering clouds part, the sunlight aches in to bless the primal earth beneath. We experience tits wonders as heathen inhabitants, devoid of technology and gods alike. Clearly a part of the growing Nordic Folk movement, Kalandra's strings pull on an endearing warmness. Unlike fellow contemporaries Wardruna and Heilung, they peer not into the northern darkness.

One could pen them as Soft Prog, gentle foragers of atmospheres with felicitous moments of Post Rock swelling and Etheral dreaminess. Tranquil, soothing and calm in nature, its rare flashes of hurried pacing, harmless brooding and climactic roars seem perfectly architectured, as if a force of nature. On its weathered journey outpacing the storm, occasions of rest incur with folkish tunes and tales. It all speaks to the ancestral human, married to mother earth, one that rumbles deep within us all.

And so with every passing listen, my initial foolishness, a deluded disappointment, fortunately grew distant. Somehow I was rustled by these "over indulged" instruments. Keen for vibrant melodies, a punchy baseline or tribal percussive groove, I was aloof to the atmospheric magic unfolding. Quiet is a strength, one that passed me by. The instrumental craft, a careful curation. Licks, grooves, riffs are subtly snug, every inch of aesthetic measured, fit together under a masterplan where nothing overpowers.

There are no particulars that leap of the page. Every song is a journey blossoming from a perpetual mellow flow. The record thus becomes river. Drop in, let its coolness wash over you and chill out. With at least a bakers dozen of spins under the belt now, it still grows on me. No doubts here, this could be honey that sticks for time to come.

Rating: 8/10

Old Man's Child "Slaves Of The World" (2009)

 

Its end of the line for this nostalgic Old Man's Child dive. Slaves Of The World is one I barely paid attention to upon release, so its re-visitation plays like new material. Galder essentially plays his game again in a more metallic package of dark and groovy Symphonic Black Metal. He pulls all the expectant chops and tropes out of the hat. Mostly led by the guitars, the music pivots in and out of dark perilous plunges through blast beast beats and finds bounce and symphonic melodies as counterpart.

Its nine tracks tend to differ little from one another in the ability to impress. The tone is set swiftly and the tracks meander through the motions where certain riffs and sprinkles of melody might tickle your fancy. One key distinction is Galder's vocals. Much meatier and more guttural driven, his shriller howls and raspy shouts give way to a deeper range deployed with overlaps and reverbs to much theatrical effect.

With new material potentially on the way after over a decade of silence I will be excited to see where Old Man's Child ventures from this chapter. Unfortunately Slaves Of The World resides as a run of the mill record for the naughties sound. I can't speak ill but the record just drifts by. Great if in the mood but otherwise a swirl of dark symphonic background noise churning through its own cliched motions. What the band needs is a stylistic evolution as this territory has been thoroughly explored and conquered!

Rating: 5/10

Old Man's Child "Vermin" (2005)

 

On the first few spins, much of this record felt fresh to a long forgotten cast. As a reminiscent familiarity set in, fond yet faded memories of its existence began to re-emerge. This was then the newest of Galder's records to be released in the prime of my time enjoying his music. Somehow, it ended up over shadowed by the rest of his records. Revisiting it has been a pleasure, a lost joy I've re-acquainted myself with.

Strangely though, I feel I have the least to say about this record. Following his peak, In Defiance Of Existence, Galder's next move was a symphonic embellishment that has Vermin feel more like a bridge between the aforementioned album and Revelation 666 - The Curse Of Damnation that came before it. Despite my adoration of Revelation 666, it does admittedly drown in the rich symphony and over production.

Vermin is measured in approach, taking the refined song writing of In Definance and bringing a visibly more involved orchestration of darkly synths to its atmosphere. It does however frequently turn to the bombastic throws of evil Metal. Its big riffs are pitted against a careful arrangement of sinister melodies and devious guitar work. The momentum is splurged on simple breakdowns, often drenched in keyboard symphony.

With a lack of stand out moment, the shorter record plays through the defined Old Man's Child sound without anything experimental or unexpected. Perfect for a mood but lacking in anything to grab your attention otherwise. It does dabble with a brief cinematic sound design track to end off with. Its descending tone, hinted at in its titling, is a brief stint but hardly makes a lasting impression in new territory.

Rating: 7/10

Old Man's Child "In Defiance Of Existence" (2003)

Having now joined the ranks of longtime friends Dimmu Borgir, Galder returns to Old Man's Child with a masterstroke of composure. For all his bold and gallant melodies, the darkly power chord shredding and blushes of symphonic might. On this occasion, his ideas arrive united with a seamless cohesion as the enjoyable yet cheesy and simplistic pleasures fall wayside to musical ideas executed with vision and purpose.

From start to end In Defiance Of Existence drives its devious themes with intent that delivers many remarkable outbursts of color and energy between the foundations of extreme metallic intensity. Pivoting away from pure power chords, Galder unleashes his new found tremolo shredding heard on Puritanical Euphoric Misanthropia. He also revives the Spanish acoustic guitar to great effect, complimenting the distortion guitars on occasion and gracing us with the stunning interlude In Quest Of Enigmatic Dreams.

So much of the albums pleasures derive from the simplicity of composition. Subtle background synths enrich fiery guitar riffs. Galder's screams are measured, deeper in tone, essentially subdued forms of the raspy howling serpent that came before. The distortion guitar texture is gorgeous, a thick and versatile tone that doesn't overpower. Best of all its drum aesthetics are on point. The snare snaps, the bass kicks pop. Sounding crisp and sharp, its fit for any blast beat or bouncy groove that is demanded.

There is a question to be asked, how much this fine production shapes Galder's music? To my ears, a shift is present in his writing style. He seeks out gratification through a songs trajectory, with frequent luminous, wondrous guitar solos and climactic riffs built up to with craft and care. The keys do drop in with big melodies on occasion but mostly they follow the growing momentum of a track. There is a variety of tones too, sometimes exchanging its roll as the lead instrument. With this approach the nine songs have a lot to offer without a single weak spot.

Its clearly Old Man's Child's finest hour, a nightly ride of fiery, fun and passionate Symphonic Black Metal. Its extreme yet appealing to the warmer sensibilities of melody and rhythm than its evil theatrics suggest, like much of the back catalog. With news of another album in the works, I hope the absence brings Galder the inspiration to reach these peaks again as this record is an affirmation of his musical brilliance.

 

Rating: 9/10