Heilung "Futha" (2019)

Futha is more of an experience than a collection of formulated songs. It is what Heilung specialize in, esoteric, bleak and bewildering music that pierces a nomadic spirit with an atmosphere of fright and wonder. Primitive instruments, ritualistic chants and a tribal spirit forge inducing passageways of entrancing rhythms between heathen cries calling to the gods. These Norwegian have taken deep inspiration from a mythic take on their pagan heritage. Reading up on the use of bones, ashes and even antiques from temples as instruments, the music is as vivid as their dedication to it.

The best of the record comes with both the effeminate and male voices chiming, singing in native tongue over driving looped percussion with airy synths steaming into dense smothering atmospheres. With long and lengthy songs totaling seventy two minutes the repetitive nature sets in as a temporal, spiritual mood seeking the roots of a humanity that once looked very different. Futha takes its time, build ups are sluggish, some interlude ambiences steady forward with no sparkle or polish. It fits in so well to the vision but it is not always as captivating the initial charm on first listen.

The nostalgic purity is alluring but that undercurrent of mother natures cold cruelty is always present. In the final stages the record bites its teeth in with a grimness as guttural vocals are drawn in word by word on Elivagar. Its like the beginning of a cursed ritual, ghostly voicing uttering out every breath with a textural viscosity that brews in intensity. It leads into the last two numbers like a portal to the past, one is at the center of a psychedelia induced blood ritual of entranced primitive sacrifice. Futha offers up a remarkable experience in fractions but isn't always captivating from start to end. It is certainly worth your time if cultural music of lost tribes is in anyway enticing to you.

Rating: 7/10

Myrkur "Folkesange" (2020)

Stripping out all Black Metal elements and purifying her Nordic folk inspiration, singer and multi-instrumentalist Amalie Bruun has forged a stunning, timely slice of naturalist music, devoid of an all to common "nostalgia". It feels present, spiritual and deeply rooted in tradition. This folk music conjures images of a simpler life, immersed in mother natures beautiful found among the fjords. It does so with a blissful clarity and heart that has each musical piece feeling as far from our modern world as could be. I've always been fond of folk elements but this has flawed me, It might be the most authentic experience Ive had in sometime, its a truly transformational experience.

A fine line is tread between simplicity and purpose as a masterful production captures Amalie's serine and soft voice and accompanying instruments in a gorgeous ambience of natural echo and reverberation. Its touch lets gentle and minimal melodies soak up their potential in atmosphere, resulting in a cold and pure indulgence for our imaginations. The array of obscure instruments, by modern standards, the nyckelharpa, lyre and mandala enrich this ancestral experience with a deep connection to traditions. A skeletal approach to percussion too carries this feeling forward with most songs receiving a measured muster of momentum from the power of one simple lone and deep drum striking with spacious intent.

The songs have varying retirements swaying from the dark to light and despite being rather different in these moods, all land a stark sense of connection. Her Nordic tounge is mesmerizing in its ambiguity, a beautiful voice with feeling felt beyond verbal comprehension. It makes the song House Carpenter perk up with English lyrics talking of Tennessee, a cover of a Joan Baez song. She brings a light to this unknown gem and the closing song Vinter, with its seasonal snowy piano too has an uncanny feeling of similarity. It is the most beautiful song on the whole project with its soft and gentle approach and stands aside from the folk narrative. Strangely it makes me think of the redemptive scene in Home Alone with the caretaker. Beautiful record, simply wonderful.

Favorite Tracks: Frager Som En Ros, Reiar, Gudernes Vilje, Vinter

Rating: 9/10

Ihsahn "Telemark" (2020)

Norwegian musician Ihsahn is the genius behind one of my all time favorite bands, Emperor. Ive been meaning to follow his solo work more closely and so I lapped up this new release, which turned out to be just three original songs alongside two covers. Not bad considering it was dirt cheap even for digital music standards! It clings closer to a traditional Black Metal atmosphere with thrusts of aggression, blasting drums and snarling screams to forge its darkly mood. Although a return to roots and departure from his more progressive approach, the music finds itself intermingled among subtle saxophones, trumpets and synths that give the Nordic flair a little textural flavor.

Its a chemistry not to remarkable but competent. The opening track brings forth marching chug riffs aligned with the strikes of horns elevating the tensions on a metallic crusade. Nord pivots to a slower pace. Shimmering hazy guitars birth a scenic vision of a cold Ethereal move nature elevated to a beautiful peak when its clean backing vocals bring in the soothing harmony. The title track hinges on a rather folk vibe. Its tricky, swiftly meandering melody has the groove and jive of something native and cultural. The tune drifts into a darkness that gets chopped and churned as the music searches for a crescendo it doesn't quite reach.

Its covers split the mood. Rock And Roll Is Dead jives out its funk with a Jazz band, the screams and distortion guitars playing second fiddle to the dominant instruments. Its almost gaudy but somehow seems to work. Wrathchild does something a little similar in moments, taking the classic Iron Maiden song and throwing in some saxophone led spice into the mix. Its good but its metallic aspect doesn't give much the original can't. Its been a fun listen, a well executed set of songs with an interesting inclusion of instruments not traditional to metal but not something to rave about.

Favorite Track: Nord

Rating: 5/10

Aurora "A Different Kind Of Human (Step 2)" (2019)

Now on my fourth Aurora record, either the familiarity is diminishing her charm or something is off. I think it may be the latter. Baring little overt relation to Step 1 other than aesthetics, this full length follow up to the EP just doesn't illuminate the stunning charm of her singing in the same way. Firstly the tone seems to of shifted. The River kicks the record off with bright, punchy, jovial synths that expand and contract, flowing with glossy melodies that shuffle along the strong Electropop vibe. Its a step away from the subtitles of the past and Aurora's voice just feels crowded in these moments.

The album grows with a range of song temperaments, some quieter than others and her voice is given plenty of focus to shine but it doesn't come together with the same magic. The instrumentals seem too energized, overplaying their role. Her range continually goes towards its strongest, lacking a vulnerability and sensitivity that previously blossomed into the moving moments. The cultural Nordic echos feel distant too and many of her vocal constructs we might refer to as the hook just don't land with the same engrossing nature. There is variety and creativity, just not at that level again.

It might seem like I am splitting hairs but its a knifes edge this style is balanced on. Going back to any of the past records I get all the feels but from this one? Not so much. Dwelling on the differences can easily overshadow what a great record this is though. Its delightfully easy on the ears and engrossing with its swells of colorful electronics and tribal percussion. Her voice is still a delight and the songs are warming to the soul but that soaring above and beyond isn't present, leading me to mostly focus on that as the record is clearly a step back. I am hoping she can steer things in a challenging direction moving forward as this one was a little to routine.

Favorite Track: Apple Tree

Rating: 6/10

Aurora "Infections Of A Different Kind (Step 1)" (2018)

The two steps of Infections Of A Different Kind starts with this eight track EP, to be followed up by a full length album, the second part. Conceptually it feels like another collection of songs with perhaps a lusher production and temperament than its preceding All My Demons Greeting Me As A Friend. Maybe the album will expand on these halves. On its own Step 1 is simply another gorgeous illumination of Aurora's dazzling voice. Its instrumental's feel a step more ambitious as subtlety is traded for bright and bold surges of complexity. Pianos, drums, layers of synth elevate from atmosphere brooding beginnings into ravishing swells of color and harmony. The tribal percussive undercurrent always drives the music forward and the whole thing plays like a temple of worship to her voice, soaring above all like a beam of light.

It starts with a bang, a couple of lively tracks driven punchy drumming, then through its trajectory grows increasingly soothing and calmer in nature. The songwriting is just wonderful, seemingly simple but beautifully arranged and quite often experimenting with Aurora's presence and form. For example, It Happened Quiet is a unique track in comparison as male voices are brought in for Gregorian alike chants. Most the other songs just find interesting ways to layer her voice, playing with reverbs and harmonization but through it all tugging at heart strings and creating ear worms with her infectious lyrical lines resonating from a gorgeous voicing. Its really moving in its best moments, loving everything about her music right now and eager for more!

Favorite Tracks: Forgotten Love, All Is Soft Inside, Churchyard

Rating: 8/10

Aurora "All My Demons Greeting Me As A Friend" (2016)

Peeling back from the subtle cultural Scandinavian chill felt on her debut EP Running With The Wolves, Aurora's first full length brings about ten new songs alongside two of old that steer the sails to warmer waters. This is no u-turn but a feasible shift from what is usually a draw for me, the darker things. It undoubtedly retains a moody gothic tinge but as the album gets into its stride the percussion livens up with EDM thuds to bolster the roots. Melodies sparkle and animate with color and a few energized tracks emerge between the often instrumentally steady approach that gives focus to Aurora.

Her voice is center stage and many a heart string she tugs with her personality as a singer. The choices in harmonization and delivery ooze with spirit and feeling, an infectious style that so easily sweeps you up and away, getting lost in the beauty of these elegant songs that stroll between melancholy and hope. With a heavenly spirit and mournful respite, her music can be felt like a lonely catharsis at many a time.

The bursts of pop melody and upbeat tempos carry a different form of charm and so the record tends to sway between its ends, soaking you up in color and warmth, then letting the frayed ends of a sorrow gone by wash over as the instrumentals subside to let her charm emanate. Subtly is king again, the accompanying instruments seem to linger in the balance, even taking ample opportunity to become focal in swells of emotional out pour. Its all simply brilliant with little to criticize other than favoring some tracks over others however each song in its moment feels like one of the best.

Favorite Tracks: Through The Eyes Of A Child, Murder Song, Home, Black Water Lilies

Rating: 8/10

Aurora "Running With The Wolves" (2015)

Its has begun to dawn on me that some of the most enchanting feminine voices Ive heard in recent memory are mostly Scandinavian! Hailing from snowy Norway, Aurora Aksnes is a young singer with a simply beautiful temperament of voice, balancing strength and harmony in a striking tone you'll know as hers. She has a soaring grace and toying playfulness, so often bursting from words to melodies with a knack for infection as her tunes swiftly soak up your subconscious and dig in deep. Her performances are sublime, emanating with emotion and meaning, her soaring moments may take your attention but the soft spoken wording between the surges of power are mesmerizing too, she moves between the two with true direction. This her debut record, a short EP but one Ive adored.

Behind her, soft and spacious instrumentals flirt with electronic melodies, atmospheric synths and a percussion that broods in anticipation and unleashes momentous drive in tandem with Aurora. It swells and calms with precision, melodies never overpower and despite being mostly poppy, uplifting and welcoming their is a little bit of that northern chill breezing through. It is mainly felt in the drums. Despite being electronic in timbre, they rattle of tribal grooves in bursts of energy that feel ancestral and rooted. These are four wonderfully crafted songs, all unique, painting an authentic spiritual warmness in the places they take you to. I'm certain I will enjoy the next few records!

Rating: 7/10

Borknagar "True North" (2019)

Borknagar, I remember! The glum shed on a fog swept field, a typically unreadable and yellow band logo atop the image. Their first album came out right in the mid 90s boom of post-global exposure Black Metal. Knowing they had ICS Vortex in the lineup, once of Dimmu Borgir and Arcturus, I felt quite keen to find out what one of my favorite voices was up to. To little surprise, the band have matured a lot from what I remember of that atypical, dingy, carbon copy debut record, the sort that just fell off into the flood of new bands joining in on the act.

To my pleasure they now take on moody atmospheres of northern folk charm. With sprinklings, often climatic, of screams, blast beats and power chord shredding, the band evenly resonate a calmer side brewing luscious settings of serenity interwoven with metallic upheavals of momentum. Its a progressive fusion of styles, rather adjacent to In The Woods. Dark and earthly songs forged through thoughtful musical arrangements sap magic from its instruments with visions of natural beauty.

Vortex's singing is an absolute pleasure, still a master of the gleaming, manly "clean vocal", he glides over these scenic soundtracks effortlessly. Its organic music with soft synths and colorful lead guitars. The three tend to interchange on leading the music forth and its held together with superb drumming that's a little on the mechanical side with its industrious hammering of stiff drum rolls. Quite often does the rhythmic syncopation of Metal guitars drive the music too and with that True North offers up variety and balance between the extreme and melodic ends of this style. Inspiring!

Favorite Tracks: Up North, Voices

Rating: 7/10

Wardruna "Skald" (2018)

Having enjoyed the Nordic ambience and cultural folk of Runaljod, I brought this album without a first listen. Its a departure from what I remember as Skald trades off depth and indulgence for a grounded minimalism that far better represents what this may have one sounded like. Einar Selvik stands as a dominate presence, a lone ancestral voice to guide us through the echos of heritage and its accompanying instrumentation, of which there is little. Naked and bare, his language is sung with inflections and an honest rawness to invoke what may have been in centuries past.

Purely by impression, his performance resembles runic scriptures and handed down heathen hymns. The poetry of cultures lost to time. His lone voice holds strong as simple single stringed instrument melodies repeat to set the tone. Only on Vindavla do the instruments switch to bring a darker, tense tone as the Lute alike instrument mostly delivers soothing and warm music. One can envision Nordic ancestors sat around a campfire as they exchange stories and sing poetry together.

At its end the record dulls with a fifteen minute accapella. His isolated voice not as charming alone. On my first few listens I struggled to be sucked in to this world but with patience it grew a little. The fault is probably with my own preferences as a richer instrumentation would have lured me in and cultural hymns are often not to my liking through human voice alone. It is however a remarkable performance in the right mood, a soothing and spiritual listen that will evoke historical echos of our humanity.

Rating: 5/10

In The Woods... "Cease The Day" (2018)

It was a huge surprise to learn of an In The Woods... reunion two years back. After sixteen years on ice, three of the original band mates reunited to create Pure, a close contender for My Top Albums Of 2016. I was pleased to see them write a follow up so quickly but disappointed to learn the Botteri brothers both quit the band, leaving just the drummer left. How much influence Anders Kobro has over the music may be irrelevant. This in no departure of style and a record I have enjoyed my time with. Cease The Day scales up its progressive scope, builds scenic pagan atmospheres and makes hints to its themes with an Elk stranded among the city lights.

Once again Fogarty's voice serves as the human spirit to soar above with a heathen heritage calling. Its an authentic performance, honest and striving, retaining his imperfections and charming with his strengths. He is central to the musics direction, chiming in with many of its peaks and the general flow. Its more occasional that other instruments become the central focus. Cloud Seeder lays down some narrow groove guitar licks before unleashing a ear worm melody with effects soaked lead guitar that wails in different keys. The songs chord progressions remind me fondly of Baroness.

The eight tracks are mostly lengthy epics that don't outstay their welcome and unfold with steady captivation. I'm astonished as to how often subtle tone shifts are within their expansive pallet, even some that call upon their past. Somehow between Psychedelic overtones and brooding atmospheres can they splice in Black Metal guitar riffs with a chirpy, jolting distortion aesthetic that hails back to their debut record. The same can be said of the synths using similar choral and choir chords which arise in an instant to enrich the scene at hand.

On casual listening one will be sucked in to these vivid soundscapes and journeys. Yet on closer exception you may notice the organic experience is comprised of rather jarring and bold shifts in both tone and style as the eclectic links at work here jostle in variation along with its instruments. Strike Up With Dawn opens on a rotation of power chord rock guitar before flicking a switch and hurtling into a shrill tremolo shredding of darkness as gloomy synths arise. In another flick they drop and we move into an estranged, lone groove guitar lick reinforced by horned instruments.

This is just one example of what occurs frequently throughout, many yearnings of influence and musical approaches mashed into one form that feels very natural and pleasing. For all my enjoyment I never felt any big peaks, crescendos or exceptional moments. Perhaps Transcending Yesterday comes close with its monstrous opening riffs and howling screams but my attention is often diverted to the mix of a live audiences cheers into the song, ending with a chant of the bands name. I'm just not sure what exactly I'm supposed to make of it. Really solid album, hard to pick favorites, its great as one long big song.

 

Rating: 7/10

Immortal "Northern Chaos Gods" (2018)

The return of iconic Norwegian Black Metal outfit Immortal is now upon us. They truly are the gods of northern chaos and this mighty ninth chapter in their story has been a shock on two levels. Firstly the surprise of its release, living up to the name, sound and reputation of the band. Secondly the fact that it exists. Last I heard of Immortal Abbath had left them over legal issues and produced a solo record totally akin to the Immortal vision. It seems that Demonaz has stepped up to fill his boots. Once the guitarist he was forced to take a back seat roll as lyricist after the punishing speed of their music took a toll on his tendons. He is now back on the guitar and in control of the rights to the bands name, this is his testament to their sound.

Demonaz has no issue replacing the legendary Abbath and that's no dismissive statement. He has big boots to fill and somehow the music retains the same breed of beastly cold, icy onslaughts of shapely guitars and demonic snarling in the form of shrill screams and throaty roars. The themes of Ravendark and Blashyrkh return again and the song constructs and progressions feel perfect. Where Mountains Rise deploys its acoustic, reverb soaked guitars, the same tone is achieved as they have done before. Everything is just as you would expect, right when you might anticipate it to be somewhat different given the personal change.

With modern production and a nine year gap between records the groups aesthetic is the best its ever been. The harsh, dense, ravishingly cold and cruel guitar tone puts forth a biting meaty fuzz of blitzing power chords and savage tremolo picking. It plays in parallel with longtime drummer Horgh dizzying assaults on his kit as blast beats and crushing grooves reinforce the dynamic onslaught. Through it all the demonic cries seek us out through the icy cold blizzards and their breed of Extreme Metal is a alive as its ever been, this record does all that Immortal is known for.

With so little done wrong, one can only imagine what some experimentation might have done to their sound. All the riffs and drum patterns fit snugly into what the band have previously established and so its ultimately the execution that is impressive. The chops and churns of pace, styles of riffing and momentum shifts all have echos of past records. If your a fan who wants more of the same, this new chapter gives you exactly what you want. If you were hoping for an new avenue for the band to walk down, this is still a pretty sublime record and I can't recommend it enough to fans of Black Metal. What a treat its been!

Favorite Tracks: Northern Chaos Gods, Called To Ice, Mighty Raven Dark

Rating: 8/10

Ihsahn "Amr" (2018)

Ive tuned in for a handful of Norwegian musician Ihsahn's albums over the years. His records have always managed to allude a vision or completeness within me, despite really enjoying the music at hand. That's why Ive not written about Ihsahn before, other than his work composing most the songs for the legendary Emperor. I believe this is testament to his genius, the ability to write with depth, cultivating the powers of subtlety that's channeled into a slick stream of digestible music, evading understanding as its contained evolution and progressive direction gets the most from simple song structures. On closer inspection the composition of neatly aligned instruments and inspired musicianship reveals a unison creating the magic which swiftly moves forth into the next phase.

I am speaking in general about Ihsahn's music as a solo artist. This record may not be his best work, little of it lingers in the mind but when in motion its a sleek composition of lean guitars and string sections diced between bursts of rampant Metal that's scaled back to a sensible energy where blast beats and shredding gets the point across without excessive force. His voice is charming and he has a wonderful range that occasionally becomes the focal point but not so much when screaming in dissonance.

Amr has an unusual pacing about it, between its swings from frantic metallica riffage to soothing, calm passages of soft instrumentation its songs often suck the tempo away with minimal drums that come between those intense bursts of Metal. It never settles in one places and among a mixed bag of songs we find its two tones both hitting and missing. The opening track Lend Me The Eyes Of Millennia creates an air of impending explosiveness with its jaunting, paranoid synths coming to fruition in a furious explosion of anger. Samr champions the polar opposite with a soothing group of instruments led by a pulsing baseline, finding its climax with an epic, emotional guitar solo and rise of string and pianos to quite the finale.

In other songs it is equally missing the mark on both front's and makes it hard to feel the record come through as a whole. A string of good songs can really set the tone however Amr never quite finds its stride despite displaying something fantastic songwriting in places. Its production is fantastic though, I'm continually impressed by the aggressive and extreme riffs that have been engineered in a way to retain that ferocity yet keep a very crisp and audible sound without being overpowering of other instruments. It alone though can't save the record from being a mixed bag of treats.

Favorite Tracks: Lend Me The Eyes Of Millennia, Samr, Wake

Rating: 6/10

Dimmu Borgir "Eonian" (2018)

Its been well over a decade since the Norwegian Symphonic Black Metal outfit Dimmu Borgir were in their prime, I would consider 2004's Death Cult Armageddon to be the groups last truly great record. Since then the bands activity has slowing, their records In Sorte Diaboli and Abrahadabra haven't lived up to the former glory. With a worrying eight year gap between albums I welcome anything from my favorite band but reserve any excitement as it would be foolish to expect them to rekindle the old flames. This newest adventure embarks us on a ritualistic journey through ancient astral lore as its tone and track listing would suggest.

This new chapter been a fair listen, an easy, enjoyable record that does little wrong but lacks the intensity and atmosphere to elevate its core ideas to epic proportion. Further exaggerating what they have done before, Eonian is finely tuned with its crisp and gleaming production, polished to a fault. It takes a real hammering of blast beats and guitar trashing to create anything remotely overwhelming. Instead the record often indulges in this sleek sound with eruptions of lush atmospheres that lean on its light, audible guitar licks, comforting symphonics and expansive drums that conjures a sense of scale with its lumbering pace packed with arranged fills.

Either its crutch or a crux the record continually embellishes many of its climatic and powerful passageways with these strong choirs, often effeminate voices soaring with a touch of devilish mischief and between them plenty of choral synths line much of the musics design. Often its fantastic, on a few instances a little soar but most of all its an obvious progression from a trend on Abrahadabra that leaves the guitars playing second fiddle to everything else. Its not something to take issue with, just an observation that they are toned down by these musicians who used to bring so much venom and exhilarating annihilation through their power chord shredding riffs.

Behind the aesthetics and nuances of composition we have some fantastic song writing that tends to stray towards cosmically majestic and uplifting moments as opposed to the hellish plunges into darkness they would so commonly do in the past. Essentially these are seasoned musicians evolving their sound in the opposite direction yet holding onto their "extreme" identity. It results in mixed feelings, an appreciation of the now more expansive music, yet an attachment to how these songs might of once played out decades ago in a more to the point manor. With lingering elements of their old identity holding on it sounds like they aren't quite through a transitional period, however Eonian clearly reaches the other side with quite a few strides on this decent record.

Favorite Tracks: I Am Sovereign, Archaic Correspondence, Rite Of Passage

Rating: 7/10

Keep Of Kalessin "Armada" (2006)

With an itch requiring scratching I recently picked out a few records by bands Ive yet to hear in a guide to Black Metal list that fortunately didn't focus on the classics I know inside out. It shone its light on overlooked and underrated albums from lesser known bands. Armada keenly caught my attention in comparison with Emperor's classic Anthems To The Welkin At Dusk. Interestingly enough Keep Of Kalessin, who Id never heard of before, were active in Norway during the scenes formation years but due wavering commitments of drummer Larsen, who was touring with Satyricon, it took him a decade to settle down and focus on the project as his main ambition, leading to a string of albums of which this was the first released.

Armada's sharp, angular tone of shrill ripping guitars and rigid hellbent drums blasting at dizzying intensity had me initially finding this one hard to get into. As with this genre more than any other, repetition is key! The old lesson of familiarity, letting the music blossom, however Vengeance Rising will always test my boundaries with its utterly ridiculous and inhuman blast beat that pushes tempos as hard as they can go. The record is full of breezing bursts of pace and eruptions of anger, bearing the hallmarks of blast beats, arriving in common, yet frequently impressive fashion. There is no arguing over Larsens talent, his rapid feet and dexterous arms make for a distinctive flavor.

With his wild rattling barrages of drums at the forefront of much of the music it takes on quite an aggressive attitude, the fast and thrashing guitar work charges at its side with plenty of all out tremolo shredding and technical chugging grooves plucked in between, plunging towards the listener with a racing pace. The antagonizing screams of Isaksen linger in constant menace as burly howls are unleashed with a shrill roughness that's rarely trying to win you over, however the breaks to ancient, cultural, Viking choral chants conjure a lot of atmosphere in comparison, its unfortunately infrequent.

The second track, Crown Of Kings, sets a bar the rest of the record doesn't keep up with. That song has whats missing, progression. Its chaotic opening riffs whirl away through fiery intensity that builds, builds and then importantly gives way. A few minutes in the drum drop to half time and an upbeat baseline ques in a moment to breath as the guitars gleam in a glittery riff. Its the shift in gears that made Emperor's aforementioned effort so fantastic and this record really feels like in needed those breaks, because without them its intensity is unrelenting and that can be burdening. I do think that was the artistic intent here and it is mostly fantastic but a lack of fluid respite in the music made it a little to strong for me.

Favorite Tracks: Crown Of The Kings, Winged Watcher, Deluge, Amada

Rating: 7/10

Röyksopp "The Understanding" (2005)

Röyksopp are a Norwegian duo of producers in the realm of Electronic music I found through fellow Norwegians, the Black Metal group Enslaved. Their cover of "What Else Is There?" had my curiosity sparked but imagine my excitement when none other than Karin Dreijer aka Fever Ray is the lead vocal on the track. It instantaneously felt like a song close to my heart and one I known I'll enjoy for years to come. I am a little saddened that she was just a feature on that track alone. I thought I had unearthed another project of hers but alas I wanted to listen to the whole record anyways.

The Understanding feels very much of its era, a post-Daft Punk Discovery world of Electronic pop music echoing shades of Techno, House, Downtempo and Trip Hop. It finds its feet with an appropriation of gentle, unobtrusive, calming music to politely invite you into its smooth and simple world. Temperate drum patterns groove on steady, repetitive beats and the range of synthesizer sounds drift from obscure and quirky, electronic and robotic all the way to light soft airy synths that linger in the atmosphere. A few songs into the record it builds up some gusto as the music expands with lively energetic drums and jiving baselines that play off Disco vibes of times gone by.

Alpha Male sticks out us a lengthy track that lures you in with its soft cinematic opening, slowly building its pace an intensity into an explosion of Electronic Progressive Rock on a exploratory tangent ever so similar to the ideas executed by Contact on their records. Its a warm, inviting record with little to fault other than being somewhat too subtle at times. Its always interesting, never quite engrossing bar a handful of songs that step away from the slow start the record kicks off with.

Favorite Tracks: What Else Is There?, Alpha Male, Dead To The World

Rating: 6/10

Enslaved "E" (2017)

Eight lengthy tracks clocking in at an hour make up this indulgent journey through abysmal rain and thunderous storms in a climate safe from harm. We swing from the calms of gentle, luscious melodies sung from soft synths and glossy pianos as they peak through gristly rock, sturdy distortion guitars in stretches that swell into grim plummets and measured fiery onslaughts of darkness. With gleam and triumph shrouded in ancient mystery the tone is set, a path of heathen spirituality in the roots of mother nature emanates in calmer passageways. Viking choral chants occasionally greet us as we wander through mystic terrain on an epic, inspired journey.

 At this point in their career Enslaved have little to prove, fourteen albums in with a solid track record the band are freed to home in on their craft and forge songs that achieve their inspiration with little to fault. The maturity and expanded pallet lets the core sound flourish with touches of influence that spread as far as Jazz with a saxophone solo on "Hindsight" fitting so snugly into the song it barely makes itself known as an uncommon instrument but rather a perfect touch to illuminate the music. Many Post-Metal guitar sounds emerge with flourishes of shimmering Shoe-gazing leads and even Sludge in scattered guitar grooves that move in menacing lugs of burly force, often accompanied by the harsh scream of Kjellson who doesn't charm with these strained and sterile screams.

These songs are progressive, expansive, they twist and turn, evolving as time passes, making for a wonderful listening experience that's cinematic. Enriched by the layering of soft synths and occasional organs below the guitars, the flavor and aesthetic is sweetened but this chemistry is lost when the album is swept into the stormy dark. Still holding onto their roots, the music often strips itself to the raw components, "Djupet" being a song comprised entirely between the guitars and drums. It makes a little more sense when these Black Metal moments emerge in the sways of wandering songs but shows itself to hold back an otherwise far more intelligent, spell bounding chemistry that is at its best in its denser, melodic compositions.

Rating: 7/10

Ulver "Sic Transit Gloria Mundi" (2017)

To use Francis Bacon's horrifying "Screaming Pope" as a record cover is an ambitious statement. For a band once associated with Black Metal I half expected this to be a transition in sound but this three track EP is simply additional songs from the The Assassination Of Julius Ceasar recording sessions. Despite being left out, these may be some of the best songs from the album released earlier in the year. For Ulver's lush and serine re-imagining of 80s Synth Pop I do not understand the relation with the dark and harrowing painting of Fancis Bacon but its the least of concerns given there are three new songs to enjoy.

"Echo Chamber" treads on unearthed ground, an atmosphere of unsettled tension, cautiously guides us through a mid-tempo night time drive of synthetic atmosphere. Slow, winding melodies scale up against Rygg's lyrics siting terror events in London as a catalyst for the current social political climate. "Bring Out Your Dead" ironically brightens the mood with a fast bustling hi hat to shift things into cruise control, although the lyrics have a sad tone, the songs melodies and synth revolve around an uplifting emergence for the dark.

"The Power Of Love" gently unfolds with archaic pianos soaking in a rich reverb, Rygg softly sings with passion to lead us into a ballad as the instrumentation unfolds. Delicate deliveries and a sincere performance give it quite the charm and class to let an underlying string element lead us into a climatic conclusion in the songs second phase. Its a remarkable track but I can't help but ponder what a cheesy synth pop ballad it could of been. The same music, retrograded back a couple of decades, this would of been a blueprint chart topping cliche track, yet with the right approach and tone its an entirely different, very enduring song. A cracking EP, three solid songs, would love to hear more!

Rating: 4/10

Gothminister "The Other Side" (2017)

Ive always had a soft spot for this unheard-of Norwegian outfit. Fronted by the distinct face paint baring Bjorn Brem, they would typically tick some of the wrong boxes on paper. Their breed of "festival rock" style Industrial Metal has those big stage tropes. Simple and plain lyrics shape overly dramatic themes for pumping up a crowd with easily sung along hooks packaged into Pop Metal song structures. Despite these observations I find myself getting caught up in their world, the music itself strikes a chord a chord with me, compensating greatly for some supposed shortcomings.

The Other Side is their sixth full length in nearly two decades as a band. 2008's Happiness In Darkness was where I joined them and this new release may overtake it as my favorite. A sense of a big arching theme creeps in through unimaginative lyrics that take a literal, descriptive path to build its sense of personal and communal struggle. "Taking Over" is hard to ignore with its tale of a girl who can communicate with the dead, they question her love for her father who's a killing machine and she is creeping death? The whole thing feels like a hash of dramatics coming together incoherently yet I find myself singing along every time, the delivery infectious and easy to pick up. This example is much of what I have to say for this record, the words don't add up but they drop in with power and infectious that elevates the already booming music.

Opening with "Ich Will Allies" the influence of Rammstein becomes so obvious. The pounding militant snare and German lyrics really hint to influences overlooked by the dominance of Trance and Aggrotech synths as a stylistic marker. Gothminister rock hard with the fast, sharp chugging of power chords on crisp distortion guitars that play alongside bustling EBM synth lines, often dropping out entirely in verse sections to let the dark electronics forge the atmosphere. The tight, snappy drum kit whirls away with thumping, repetitive grooves that drive the songs forward and set the tempo in its slower, calmer passageways. The production is strong, everything pulls together, loud and energetic instruments firing together.

At thirty five minutes its short and sweet, all killer no filler. Each song has its edge and across all ten tracks the Pop Metal song structures always lead to climatic choruses with great vocal hooks or power smashing drums, big moshable riffs and bursts of lively, infectious synths. With its theme rooted is the darker sound of Metal an uplifting undercurrent always broods from the synths, creating a satisfying emotional energy culminating from these big outbursts. It has the measure to wind down in some of its choruses and "Aegir" entirely. It makes for a smooth flowing record that burns through its short songs without a dull moment!

Favorite Songs: Ich Will Allies, We Are The Ones Who Rules The World, All This Time, Taking Over

Rating: 7/10

Satyricon "Deep Calleth Upon Deep" (2017)

Satyricon may not be the first band to come to mind when discussing Norwegian Black Metal but they have their place in its history. Around since the dawn of the 90s as a Death Metal outfit the group quickly switched to the new rebellious sound, releasing a couple of demo's before the scene blew up in the wake of scandalous church burning and murder. After a handful of records some consider classics, the duo Frost and Satyr strayed from the scenes roots leading into the millennium and developed their slower, discordant, somewhat atmospheric take on the music which has never received much critical acclaim but has grown them an niche audience.

Their last release, the self titled, was said to be a real stinker and so I gave it a pass, thus arriving at this new release with pretty low expectations. "Deep Calleth Upon Deep" is a murmuring stroll of a record that wanders through its various arrangements of ideas at a leisurely pace. With little urgency and barely any gusto the duo muster together riffs in a dull and dark setting. The tone is drab, linear and aesthetically rather flat despite a crisp distortion tone. The music is all guitar led and the only apparent chemistry is between the weaving riffs and Frost who throws down uninspired beats in varying degrees of intensity as Satyr wails thin and grisly half screams on queue with the songs tempo.

Monochromatic is the word that comes to mind, this record is narrow and lifeless. In an odd way there is a charm about its one dimensional vision. Something I think a different listener might find get a kick from but for me it was mostly dull bar an occasional moment to perk the ears. Everything here is driven by one guitar track, interlining sliding guitar leads and plucked notes between low end power chords. On occasional its technically impressive, almost always leaning into the unusual and unexpected spectrum of composition but lacking the inspiration to whisk these ideas into proper songs.

In a scattering of moments other sounds enter the music like half baked ideas. Satanic, worrisome operatic chants wobble in the distance with a guest vocal on the title track. The opening of "Dissonant" includes avant-garde trumpet playing buried under the guitars and wherever another dimension of sound opens up its always half committed, taking the wind out of its sails. Disappointing, this record could have been better as it does encroach on a unique flavor and moments of interest but with mainly weak and forgettable tracks it plays like a grey wash of blandness.

Favorite Tracks: Deep Calleth Upon Deep, Burial Rite

Rating: 3/10

Manet "Dark Side Of The Valley" (2016)

With my late night rabbit hole browsing of the Internet Ive stumbled into another Doom Jazz artist! Perfect, I was looking for more after being introduced to the genre via Bohren & Der Club Of Gore. Manet is a one man band project from Norway, this being the fifth of sixth releases and on my initial listen I felt the same crime riddled city blues of moonlit streets, smokey alleyways and shady dealings that I have so far identified as the Doom Jazz vibe. With each passing listen the experience grew and although this record has a similar tone, aesthetic and pace, its ambience and vibe didn't journey to the same city, or any place at all for the matter. Although soft yearning pianos and a suspect VST trombone murmur in similar shadows, it doesn't feel as Jazz like as one might expect.

With a template of deathly slow pacing, quite, unmoving drums and slow, cautious instruments one would suspect there isn't a lot of depth to the genre, that's a dangerous assumption. Despite a composition and tonal similarity none of these songs spark that rich atmosphere my previous encounter had done. "No Rest For The Dead" may stir some emotions with its elevated lead piano but mostly the record just passes by, only managing to stir so mediocre atmosphere and soft ambience. The record finds a strong moment with "Movember Pain", a reference to mustache growing? The soft groaning of distant whirling synths over its backdrop strings gave me goosebumps!

I believe this records shortcomings is in what is most likely a digitally composed piece with VSTs and the like. Because everything is tentatively slow, soft and quiet, hearing the distinctions of an electronic instrument isn't so obvious. Listening back to Sunset Mission again in comparison It becomes very vivid how much life and character each musician breathes into their soft and subtle playing. Manet also misses a very expressive saxophone or trombone like instrument that can act as a voice for expression amidst the slow smokey atmospheres. Its a reasonable effort but obviously amateurish in counterpart to a professional Jazz outfit.

Favorite Tracks: Movember Pain, Obscured Visions

Rating: 5/10