Bathory "Nordland II" (2003)

Nordland is a mighty double album, two hours of spirited nostalgic lore and viking aggression without a weak spot. All from the same recording session and with little distinction between its two halves, it is simply an epic musical output by an inspired musician finding new ground. That's an important point to linger on, it would be all to easy to describe this as a return to roots. Although it has the spirit of a Hammerheart, or Twilight Of The Gods, this is a rather forward thinking pair of albums, refining and rebuilding the chemistry that defines it, introducing new elements along the way too.

With keyboard synths and cultural instruments, stringed and woodwind, the symphonic aspect feels fleshed out and spirited acting as the sail for many melodies to carry the music forth alongside the swells of male heathen choirs and metallic force. Its never a glum affair, much of the atmospheres conjured have might and pride, an uplift sailing against winds and rain. The harsher realities of ancient rural life trumped by the glory of natures unforgiving beauty and human life among it.

Each song feels poignant in its narrative, gleaming melodies swell, riding into shifts of tone. Guitars, synths and choral voices interchange to hold over lengthy songs with excitement. Quorthon sings with one of his fairest performances given his authentic singing, which is challenged. He utilizes his strengths, not straining and often refraining with a spoken word temperament that electrifies the many choral arrangements that proceed him. Where songs of old were driven by fresh ideas, this collection really explores whats possible with more musical involvement on all fronts.

The metallic element is a keen one too. His rhythm guitars are initially more of a backing element but with Dragons Breath and a couple numbers or Nordland II, he delivers some bouts of cunning aggression that triumph over anything from the Trash Metal era and meld so well with otherwise melody oriented music. The lead guitars are a blessing too, not only peaking with rampant shredding solos but hitting bold with striking metallic melodies into the songs at regular intervals.

To summarize, this is undoubtedly revisiting his Viking Metal glory days but with such a refreshing attitude. These songs are given so much love and care that they come to life on a new level with deeply involved song writing. Better sound design and use of instruments outside the norm flesh out its theme well. Strides are made on all fronts however thumbing over the tracks again one by one, Ive got to say it does feel as if the more rhythm guitar driven songs end up on the second album. It has the darker charm with a more aggressive temperament. Its been a fun journey and this is one heck of a note to end on, even if it was sadly not planed as so. It will always be a curiosity to think what might of followed but great to know he found his way again after a patchy series of albums.

Rating: 7/10

Bathory "Nordland I" (2002)

Another epic journey concludes as we embark on Quorthon's final works, essentially a double album that rekindles the flames of old, having lost his footing through the nineties. Sadly we may never know where he would venture on from this high point, his untimely demise coming just over a year on from the release of Nordland II. Supposedly linked to heart conditions it is often speculated that Bathory never toured for this reason. At this stage of his career though, he was truly a one man band, not only writing but performing all the music that makes up these records. Both are of the same studio session with little distinction between its two halves. It made sense to write about them together in one single post, so that will come next and for now we will focus the journey this infamous artist has taken us on to get here.

Starting out in the mid 80s, the early records are gritty, edgy and ambitious, pushing boundaries which seem tame and cheesy by today's standards. That is precisely the legacy though! With The Return, many ideas emerge that would become staples of the Norwegian scene in the 90s. Its not until Under The Sign Of The Black Mark that something special sparks. Still hammering out the extremes, his songwriting elevates, outlasting the gimmicks and giving us a glimpse of whats to come in the next few years. The introduction of synth on Enter The Eternal Fire also a remarkable idea, a clear traceable linage to the many Symphonic Black Metal bands yet to come.

Blood Fire Death marks a true stride of genius. Clearly growing as an artist, the Nordic inspiration of his heritage and Viking roots brings fresh, original ideas to Metal. It all flourishes with a pivot to focus on this spirit alone with the mighty Hammerheat, putting Quorthon at the heart of two big musical movements set to evolve over the next decades with him practically checking out and pivoting to Thrash Metal during its decline. It is this era that highlights something forgivable in the early days, sound production. Whatever the reasons, the harsh abominable aesthetics hinder much of the output moving through the 90s. Its been a stain on much of the music, with Blood On Ice providing just a little relief along the way.

 Fortunately the Nordland saga is finely produced. Still a little harshness lingers but the two have a fair aesthetic for music we will talk about in the next post. One thing is for sure, early Bathory is essential listening for fans of Black Metal and Viking Metal, those first five records plant the seeds of so much music to come. On a personal level, it was really fun to get back to these records, rediscovering some fascinations from my youth and getting a much fuller picture of a patchy career with ups and downs, ultimately ending on a high note!

Rating: 8/10

Bathory "Destroyer Of Worlds" (2001)

With a notable five year break between records, Bathory returns to the new millenium with Quorthon as the sole performer of all instruments. It had always been his band, his music but from here on out he is without company. Destroyer Of Worlds is a record that stagnates on former glories and failures too. Attempting to unite the Viking Metal and Thrash Metal sounds of the 90s, it ends up being a mash up with one or two songs making the crossover and the rest standing in stark contrast to one another.

It is the Thrash sound that makes up the bulk of this lengthy sixty five minute slog. Lake Of Fire opens things up with memorable anthemic glory. Reverb soaked drums, heathen choral chants and Quorthon's authentic yet tarnished singing. Ode and the closing Day Of Wrath sustains the atmospheric Viking sound. The albums title track handles the crossover well, a chugging guitar and bass rumble offering up a dirty driving march for its gloomy tone. Pestilence offers up chunky groove riffs that only pivot to the Viking identity with punched in choral chants and acoustic guitar overlays.

The rest resides strictly in the Thrash realm. In doing so, the production value takes a hit. The insistence on a stark temperament rattles the composure with many of the songs feeling like a big step back to Requiem and Octagon territory. Semi social-political themes and anti-war topics manifest into hollow lyrics again, offering little to ponder over. Most of the riffs and compositions reek of creatively challenged mediocrity, nothing in the way of a memorable impression is achieved at all.

Jumping between a couple of tracks, one can hear what seems like multiple sessions brought together, with different aesthetics at play. Overall it feels like a hashed up attempt to unite two different sets of songs, maybe leftovers from the years gone by. One thing that is for certain, Quorthon knows how to do the Viking Metal sound he pioneered best. Its pretty fantastic and up to scratch in two or three of the songs here, the rest simply drags the record down.

Rating: 4/10

Bathory "Blood On Ice" (1996)

 

Relinquishing the failed detours of Requiem and Octagon, this ninth installment, supposedly compromised of mostly unreleased material from the era post Blood Fire Death, it marks a return to the much adored Viking Metal sound Quorthon pioneered. Although similar in overall length, its eleven tracks feel clunky, alternating in temperament that breaks up its flow. This falls inline with a statement that forty percent of material was was reworked for this release. The swan songs Man Of Iron and The Ravens, One Eyed Old Mans Motorhead energy, the galloping pace of Gods Of Thunder And Of Rain and the Progressive riffing of The Stallion stick out with a keen shift away from the established sound of heathen cultural inspiration.

The rest of the record however carries over much of what was heard on Twilight Of The Gods with far more gusto in its meaty distortion guitars and epic drums lavished in reverb, with exception to the tom drums which are claustrophobic on some tracks, as if recorded in a cupboard. Choirs of human voices with a rural burden return and Quorthon mostly delivers his cleaner style blemished in authenticity as he tangles with notes just beyond his grasp. Its mostly charming, at least I've heard him do worse with this unfiltered approach.

After many spins Blood On Ice still plays like a fractured record with a shared vision. The Lake takes merit as a stand out track, its dragging discordant guitar chords provide an epic drone for gloomy voice to be counteracted by frays of glossy acoustic chords plucked slowly. Its an epic with a guitar solo to match, which bring me to another point, his lead guitar work on this one isn't as sharp. The record was shelved unfinished in 1989 and its resurrection doesn't make it feel anymore complete.

Rating: 6/10

Bathory "Twilight Of The Gods" (1991)

Twilight Of The Gods represents some truly new territory as a part of my nostalgic journey. Bar a couple songs, most of the record was fresh and thus had a challenge in the face of all the praise I heaped on Hammerheart. Its temperament is similar, more of this heathen viking Metal but with a duller edge. Its title track and Song Of Blood have a gloomy tone. They make up twenty one minutes of the record as the pair steady the ship for slower tempos. It shifts focus from guitar to its choral voices that conjure rural life of this inspired era of history. In a few rare moments of gusto, the guitars feel held back by the production which doesn't give them enough punch. Its very much an atmospheric affair and that gloomy feel does subside in parts but mostly these two have a burdensome vibe that drags on.

That temperament is felt throughout, however the middle tracks get to embellish their themes and stories with rocking riffs and choruses that bring some much needed excitement. The tone is dominating though, even Quorthon's excited explosions of lead guitar seem dulled. If its composition or production, I can't get away from this moody tinge, its almost indulging but mostly for me lurches in the shadows of the mythic, heritage charged music that came before it. This time around the vision of culture lost to time is distinct but lacking an enticing energy.

Blood And Iron gets a nod for its stunning glossy acoustic guitars that ring out metallic chords. Its a gorgeous compliment to the driving song beneath, breathing much needed colour into the icy, cold and stiff production that I'll say again feels a fraction away from being an endearing quality. The album ends on a high though, the Hammerheart song an anthemic out poor of triumphant singing that works in some of Gustav Holst's timeless music from The Planets. Its an epic conclusion to an otherwise disappointing record that is a little to self indulged in its droning tone and off-key singing, which again feels a fraction away from something great in its pursuit of authenticity. The bellowing call of the hard life of vikings resonates with that same hardship. A flawed record which has Its moments, I am doubtful it will grow on me.

Rating: 6/10

Bathory "Hammerheart" (1990)

Ones body will be scared by age but so shall the mind! It seems almost criminal that the brilliance of Hammerheart has faded in reputation. Diving back into the Bathory records of youthful years I had somehow lost memory of this masterpiece. Thinking I was on the cusp of unearthing a new glory to enjoy, every track rang echos of a decade past by. Songs unearthed with their etchings still eternal under the dust.

This was the moment Quorthon embraced his heritage and forged a new, remarkable path. Somehow, I remembered this record as a drop off point but in fact these are all spirited songs keenly remembered, including the mighty One Rode To Asa Bay, the only Bathory song to ever be made into a music video if I recall correctly.

Leaving the ferocity of Blood Death Fire behind, slower tempos, brooding atmospheres and heathen choirs accompany a tamer Quorthon who channels his energy into roaring battle cries and off key singing. He conjures the viking spirit with this hard pressed voice that should turn the nose up in theory, yet the genuine passion in his voice pushes the Nordic spirit of the music into a vision coming to life.

Its the final piece solidifying this inspired music of mythic heritage fit to conjure candle lit halls and mighty landscapes of rural natural beauty. Although now a common thing to experience in Viking Metal, this must of been something special at the time of its release. The album opens up with two lengthy epics, Valhalla crashing with lightning strikes into a mountainous passage of drawn out power chords and thunderous drum pounding that sounds practically lifted from Call Of The Cthulhu.

Its a recurring section that elevates the music but also feeds into claims of plagiarism against the band. Something I had yet to touch on but much of the early material is akin to Venom yet Quorthon often claims to have not been influenced by them. It is however a moment of power from the percussive battery and throughout the album tumbling strikes of tom drums help propel these epic and heathen calls to the gods.

Moving into Fire And Ice and Father To Son, sections of dense distortion guitar singularly erupt with a keen parallel to Groove Metal, a genre yet to unfold at this point in time. Its not often the riffs are thrusted forth to the light as they mostly meld with synths to conjure the distinct atmospheres. That measure of fretwork is often subtle but a keen feature throughout. The surprise is these eruptions of meaty groove.

This is a pivotal album for Bathory, being at the forefront of one movement and in one stride to the next, forging and mastering an entirely new sound for the Metal umbrella of sub-genres. Where his last two albums showed flashes of this genius and reveled in a little diversity, Hammerheart is a very unified sound from stand to end that is near impossible to deny as a classic. I am so glad to have found my way back to it!

Rating: 9/10

Bathory "Blood Fire Death" (1988)

 

 And now for the album where it all started for me... One of my first Black Metal records, Emperor's almighty and majestic In The Nightside Eclipse. It concluded with a bonus track, a cover of A Fine Day To Die, a mind blowing Bathory song, a true anthem of epic wonderment, embroiled in blood and darkness, thrust forth from a clash in the heavens above. Blood Fire Death is where it takes place, however not much of the record is inline with the soaring songwriting of its mesmerizing start. 

Opening with Odens Ride Over Nordland, the cries of majestic horses are lost to the echos of mist descend upon the listener. A spooky, chilling and mythic tone is set as the sound of creeping fog and archaic choirs forge a masterful soundscape of aftermath. Unlike previous attempts with ambience, Quorthorn envisions a stunning atmosphere to compliment the albums cover. Its as if souls are falling from the heavens above where the battle rages on beyond the mortal realm.

It gives way to the sombre acoustic intro, lined with whispering vocals and plucked strings echoing through the temple. The suspense for whats to come is palpable, an eruption of might and power. The power chords roar, the screams bellow and a sequence of unforgettable riffs lead us into battle. A couple splashes of blazing lead guitar fretwork set of sparks from the coming onslaught of guitar solos, Quorthorn seemingly mastering every aspect of his craft on this number. A break back to acoustic guitars and choral synths may lead you in the wrong direction as the musical beautifully groans its way right back into the heart of the fire with an unleashing of sonic guitar that shreds to the heavens and back with an astonishing sense of tune.

Its simply unforgettable. An eleven out of ten track that in my opinion elevates the spectacle of this album as the music pivots back into Under The Sign territory from The Golden Walls Of Heaven to Dies Irae. With excellent execution, stunning sprawls of shrill lead guitar noise and sharp potent riffing, Quorthorn nails down the fast paced, full pelt assault of ferocious proto Black Metal that Massacre achieved before it. Its clear his songwriting is in a stride as the songs provide memorable hooks and riffs alike as the listener is barraged with an unrelenting ferocity.

That pace is rested a fraction with the half paced stomp of All Those Who Died but it too has intensity in droves, another fantastic unleashing of evil aggression. Its this block of songs though that highlight a flaw in the record, Its production. The guitars are admittedly a little sloppy, its rugged punchy snare sounds like a drum machine for much of the record. All too often does the feeling in the musics writing outpace the quality as the songs here don't rely on low fidelity gimmicks to sell themselves.

It is only with the opening and closing title track that Quorthorn fully embraces a new spirit in his music, the history and heritage of his Swedish ancestry, Vikings! Where the last record started to experiment with this angle, this time the songs are fully realized and embellished in his roots. The beginning of Viking Metal to come! Despite the knowledge of whats to follow next, these songs really do define themselves with the simple use of male choral backings and ancient sounding synths. Of course the songwriting is key and less intense vocals contribute as well.

Its interesting going back over these old records of youth with an intention to understand them better. I'd still consider this his finest hour, however its become more obvious how fractured this and the last album are. Different music ideals emerge and experimentation is more obvious. The songwriting at this stage though is utterly remarkable. A definite peak although whats to come is an era I am less accustomed with. I find myself very excited to visit albums that once disappointed a naive younger me, for simply not being like the records that came before it!

 Rating: 10/10

Moonsorrow "Jumalten Aika" (2016)

Who are Moonsorrow? A Finnish band from the counties capital Helsinki who define themselves as "Heathen Metal" in an attempt to distinguish their inspirations from the Viking and Pagan forms of Metal they sound alike to. Ive seen the groups logo on shirts, jean jackets and festival bills but the name never drew me in to find out who they were. Its a shame I didn't listen sooner because they are my absolute cup of tea in an area of music I never get tired of. The band tread the lines with Black Metal through shrill vocals, sharp aggressive guitar riffs and its Heathen counterpart with Symphonic walls of melodic density and its core theme.

Consisting of four lengthy tracks and the shorter seven minute single "Jumalten Aika" it is immersive in the fullest sense, deep songs in a wall of sound with pacey progressions that keep you locked into a heathen world inspired by natural beauty. The belly of the beast are the bellowing baselines and drums hammering away in a muddy production that has the distortion guitars and symphonies bleeding over the two, never loosing focus on the musics direction. In the distance shrill screams and crys call out with a less than human touch for what is primarily an ancient human experience of epic pagan wonder. The songs start out steady, ever building towards climatic moments that have the strength and surge to carry on for minutes in the gleam of their triumphant melodies played on the keys. Even in the opening stages of "Ruttolehto" do warlike horns set the stakes high with a style similar to Graveland's classic "Prawo Stali". It shifts at the arrival of archaic group chants and around the six minute mark they re-emerge as choral chants with a stunning harmony before the song gives way to a flute like native instrument with such charm and authenticity, it grows to epic heights as the choral chants grow in magnitude and when the "heavy", the distortion comes back in it has its moment before winding down with a vivid soundscape of acoustics, native folk instruments and chants.

The album and its songs develop in similar ways with all sorts of flutes, horns and strings becoming essential parts of a songs direction while they drop in and out between the Black, their scale unchained by expectation and ripe with inspired melodies to wisk you up into their heathen world. The production plays an important role as it would do in any record. On paper it may seem a little to muddy and dense for charm with the clarity of the drums always under pressure from the oozing walls of synth working their around the grizzly treble heavy guitar tone. Symbols burst out of the background with a clatter and it all works so well for a theme that requires a little grit and authenticity.

The heights of epic this record soars with is remarkable. It reminds me of many of moments, records and songs that are reminiscent of Moonsorrow's take on Black Metal, however the band have homed in on a vision and created a record of true inspiration. Its a reminder of musics progression and although these extreme genres of metal may of passed two decades in age, their is still much maturity and understanding in its craft to be explored and this band are doing just that. Whats best about the record as a whole is a lack of a single crowning moment. Each song has you in its grasp, maybe you know what comes next but by the time it passes and you've reached the end you can't wait to start it over again.

Rating: 9/10

Amon Amarth "Jomsviking" (2016)

Given the ever growing hype around Amon Amarth and there continual rise in the Metal scene I decided to pick this one up. Its the Swedish groups 10th full length in over twenty years as a group. With themes of Norse mythology and viking warfare they have been hailed by some as thee Viking Metal band. Amon have unfortunately never done much to captivate my attention as other bands in the genre had. I can hear whats distinct and unique about this band but it doesn't get me fired up or create an atmosphere I can absorb.

After many listens the same flat, mediocrity of neutrality emerges. I find myself feeling rather indifferent to its presence. "Jomsviking" is aesthetically soft and sterile with crisp guitar distortions, dense baselines and punchy, balanced drums forming a warm and approachable mix of crunchy toned down Melodic Death Metal. Hegg's vocals are the heaviest aspect of their sound, he growls and bellows meaty screams with a vibrant texture that doesn't get overbearing, probably an easier tone for a newcomer to digest.

This album progress through the motions with simple song structures and prominent guitar riffs that outline the songs directions and build the Norse themes. As much as I can hear "it", their is no stir of emotion within me in response to their riffing style. The guitar leads drop into particular tracks with bright colorful tones and melodies sometimes reminiscent of Iron Maiden. Together they steer the ship with a sense of destination in sight. The themes however are particularly uninteresting to me with a lack of poetry or sense of scale delivered in the lyrics. They often culminate with a simple use of words and basic rhyming pattern that has the words steered by matching rhymes in favor of visionary word play.

Its all a matter of preference and as much as Id like to get into this record It just doesn't stir me. Looking forward to seeing them at download though, seeing a band live can help it "click" which is yet to happen for me. Ill stay neutral on this one, there is a couple of tracks with a bit of spark but equally some that bore me too. One thing I can say is nothing here felt out of place or obscene, its a well rounded record.

Favorite Track: Wanderer, Raise Your Horns

Rating: 5/10

Macabre Omen "Gods Of War - At War" (2015)

Purchasing a couple of records at a gig I went to recently, the seller encouraged me check out his band and I'm very glad I did! "Gods At War" is a swell Pagan Metal album that delves into Greek mythology, the Athens based bands own ancestry. We are used to seeing Viking Metal and the likes from Scandinavia, so its fantastic to find a gem like this where metal isn't as prominent in southern Europe and of course a different source of mythological inspiration.

Macarbe Omen have a loose, liberated flow to their music that doesn't stick to one distinct path to embellish us in ancient settings. Ever twisting and turning through champion riffage, soaring melodies and a barrage of clattering drums an experienced listener can hear tinges of many bands and styles teetering from Black, Death, Pagan and everything in between. The rhythm guitar muddies through hazy distortions and chunky riffs as the leads coarse over with inspired wistful tunes. Charging like a beast into battle the drums constantly bear down with endless blast beats and nimble batterings that can seep into all the creeks with its bellowing echo and reverb. The records voice comes commonly in two forms, shrill, distant howls reminiscent of In The Woods... classic "Heart Of The Ages" and burly lower ranged half growls. There's also a fair few helpings of Greek choir chants to drive home the records heritage. Its inspired and travels through its motions with plenty of spectacular moments that is helped along with an undercurrent of carefully placed symphonics.

Its a record to remember but not without its flaws. Although distinctively Pagan there isn't much beyond a handful of strikingly obvious moments and the song titles to define the Greek mythology theme, maybe in the lyrics but not much can be said of indecipherable howls. "Man Of 300 Voices" however does this with a lengthy acoustic interlude to set the tone. "From Son To Father" is where the record shines brightest. Epic in scale and tone we are lavished with inspired lead guitar melodies and a memorable group chant chorus to conjure the gods.

At just over an hour its a lengthy record, that can be felt as it draws to a close. Eight lengthy tracks of which a handful do take their time to progression through the motions. The production is also a little slack and forgiving of itself. Although the fidelity is key to its atmosphere and ancient feel, the drumming can be overpowering and constantly competing with the guitars. Its a bit nit picky, but where this record aims high it achieves it musically with an inspired touch that fell short on execution.

Favorite Songs: God's Of War, Hellene's Do Not Fight Like Heroes, Heroes Fight Like Hellenes, From Son To Father

Rating: 7/10