Tag Archives: nordvis produktion

Album Review – Jordfäst / Av Stoft (2022)

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A ruthless Swedish Black Metal duo returns with their sophomore opus, telling sobering tales of human struggles against societal norms and religious oppression, and the fight for the right to determine one’s own fate.

An old Swedish word for being buried, loosely translated to ”attached to soil”, Jordfäst is also the name of a Skåne, Sweden-based Black Metal duo who unearth the grim past of the Scandinavian peninsula in their songs, channeling the long-forgotten cries of people that once lived. Now in 2022 it’s time for vocalist Olof Bengtsson and multi-instrumentalist Elis Edin Markskog, supported by session drummer Joakim Unger, to unleash upon humanity their sophomore opus entitled Av Stoft, the follow-up to their critically acclaimed 2021 debut full-length album Hädanfärd. Epic and dreaming, conjuring up soundscapes comparable to genre greats such as Ulver, Saiva, and Primordial, Av Stoft, which is Swedish for “of dust”, continues where Hädanefter left off, with folky melodies and theatrical narratives woven into a solid backbone of Black Metal. Recorded at Studio Wheelmust, mixed and mastered by William Blackmon at The Overlook, and featuring guest vocals by Joakim Svensson of Skogen, the album is comprised of two songs which have a combined playing time of 33 minutes, telling sobering tales of human struggles against societal norms and religious oppression, and the fight for the right to determine one’s own fate, with its gloomy layers interspersed with searing melodies reflecting a reality as unforgiving as the northern winter.

Eerie voices are suddenly joined by the massive beats by Joakim in Abortologen (“the abortologist”, from Swedish), bringing to our damned ears over 16 minutes of Scandinavian Black Metal infused with Folk and Doom Metal nuances where Olof roars manically in the name of pure evil, while Elis crafts a beyond caustic and visceral sound with his riffs, bass and keys, not to mention his guitar solos are a thing of beauty, enhancing the song’s epicness and electricity considerably. Put differently, it’s imposing and violent from start to finish, being therefore tailored for admirers of the genre while also ending in a serene way to the sound of a piano. The second song of the album, Kom Eld, Kom Regn (“come fire, come rain”), offers our ears pure Scandinavian Black Metal flowing from the very first second, with its vocalizations adding an extra touch of darkness to the overall result. Furthermore, the song brings forward a headbanging pace led by the strident riffage by Elis while Joakim hammers his drums in great fashion, and the music alternates between sheer aggressiveness and more melodic, Stygian moments. Not only that, Olof sounds absolutely bestial with his enraged roars, without a single second left empty throughout its 17 minutes of Scandinavian awesomeness that builds up to a sinister, epic and chilling ending.

“With Av Stoft we took a more timeless approach by implementing themes which have always been part of humanity’s history and shaped our society. Concepts pertaining to life and death; the right of the lone individual to either end or start one or the other as he sees fit, as well as the consequences that might follow. As on Hädanefter, the stories are told from several perspectives and depict everything from personal suffering to the relentless forces of nature – all of which are indifferent to our suffering and just biding their time to sweep us away, once and for all,” commented the duo about their newborn spawn, which will soon be available for purchase from the band’s own BandCamp page and from Nordvis Produktion, as well as for streaming on Spotify. Hence, don’t forget to start following Olof and Elis on Facebook and Instagram to stay up to date with all things Jordfäst, letting the obscure tales told by the duo in Av Stoft crawl dep inside your mind while they keep carrying the flag of Scandinavian Black Metal armed with their austere music for many decades to come.

Best moments of the album: Kom Eld, Kom Regn.

Worst moments of the album: None.

Released in 2022 Nordvis Produktion

Track listing
1. Abortologen 16:08
2. Kom Eld, Kom Regn 16:59

Band members
Olof Bengtsson – vocals
Elis Edin Markskog – guitar, bass, keyboards, backing vocals

Guest musicians
Joakim Unger – drums (session)
Joakim Svensson – additional vocals

Album Review – Bhleg / Fäghring (2022)

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This unstoppable Swedish duo returns with their most ambitious recording to date, the fourth and closing part of the album tetralogy “Ár”.

After the blackest night comes the most radiant dawn; the spark of life illuminates all that which was swallowed by shadows. Fäghring, or “florescence” in English, bears the gift of rebirth both in nature and for Västra Götaland, Sweden-based Black/Folk Metal entity Bhleg. The fourth and closing part of the album tetralogy “Ár”, with the other three parts being Solarmegin (2018), Äril (2019) and Ödhin (2021), is the most ambitious Bhleg recording to date, with its metal parts being saturated with both primal ferocity and majestic atmosphere, while the ambient interludes from their early works are still present, but now conveyed mostly through analogue recordings. Tracked and mixed using the band’s own recording setup at Studio Asu, mastered by Tore Stjerna at Necromorbus Studios, displaying custom photography as well as illustrations and calligraphy by T. Väänänen, and featuring guest vocalists specialized in different aspects of the Scandinavian folk tradition the likes of Andreas Pettersson of Saiva, Êlea of Noêta, and Swedish author Lars Magnar Enoksen, Fäghring is undoubtedly the strongest album to date by vocalist L. and multi-instrumentalist S., this time supported by drummer H.

Vårdträdet (or “the warden tree” from Swedish) works as an extended intro that will transport your soul to the ethereal realm ruled by Bhleg, with S. being on fire with both his riffs and his tribalistic sounds, flowing into the 10-minute aria Grönskande gryning (“verdant dawn”), where L. begins screaming like a demonic entity in a brilliant fusion of Black and Folk Metal. Furthermore, S. once again is bestial with his riffage while H. hammers his drums with tons of passion and feeling, alternating between sheer heaviness and mesmerizing passages, not to mention how awesome all additional instruments by S. sound and feel. The piercing Black Metal riffs by S. set the tone in Alyr i blom (“Alyr in bloom”), with H.’s beats dictating the song’s frantic pace amidst over 12 minutes of insanity, darkness and a deep connection with nature, with S. darkening the skies with his sick guitar lines and low-tuned bass jabs, therefore resulting in one of the band’s most complex and detailed compositions to date.

Birds chirping ignite the and melancholic Befruktad jord (“nourished soil”), evolving into a massive wall of ethereal and harsh sounds and tones for our total delight while also bringing forward wicked vocalizations, flammable riffs and H.’s pounding drums. Then the sounds of nature will put you in a trance in Solvigd “(solar wedlock”), a beautiful, enfolding tune showcasing primeval elements intertwined with whimsical female vocals, before Bhleg comes crushing with Frö (“seed”), a 12-minute onrush of Black and Folk Metal that will decimate your senses with L. delivering his most infernal and anguished vocals of the entire album supported by the always venomous beats by H., blackening the ambience more and more as the music progresses to the razor-edged riffs by S. and ending with eerie, grim vociferations that build an instant connection with the atmospheric outro Fagna sumrí, (“celebration of summer”), which goes on for too long despite being very delicate and smooth. It’s still a very decent conclusion to the album, of course.

“From death springs life – stronger, wiser, and alive. Fäghring, our homage to the glorious spring, signifies the part of the natural process where life is reborn. The album is dedicated to life and its triumphs over death; it is the fourth and last album in this cycle,” commented the duo. And if you want to join Bhleg in their quest for Black and Folk Metal you can start following the band on Facebook and on Instagram, stream all of their creations on Spotify, and soon purchase your copy of the stunning Fäghring from their BandCamp page, from Nordvis Produktion, or click HERE for all places where you can buy or stream the album. This cycle might be closed, as mentioned by L. and S., but the duo is far from calling it quits; quite the contrary, Bhleg will be reborn again and again, for the delight of all fans of first-class extreme music.

Best moments of the album: Grönskande gryning, Alyr i blom and Frö.

Worst moments of the album: Fagna sumrí.

Released in 2022 Nordvis Produktion

Track listing
1. Vårdträdet 2:40
2. Grönskande gryning 10:41
3. Alyr i blom 12:06
4. Befruktad jord 8:52
5. Solvigd 3:30
6. Frö 12:22
7. Fagna sumrí 4:11

Band members
L. – lead vocals
S. – guitar, bass, lyre, hurdy-gurdy, mouth harp, keyboards, bullroarer, birch trumpet, frame drums, birch sticks, stones, vocals

Guest musicians
H. – drums (session)
Andreas Pettersson – vocals
Êlea – vocals
Lars Magnar Enoksen – vocals

Album Review – Bhleg / Ödhin (2021)

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One of Sweden’s most talented extreme music duos returns with six epic tracks of pure channeling of forceful darkness in their third full-length opus.

Inevitable, as the spreading twilight and turmoil when the blackness of winter swallows the sun, the massive and multi-layered Ödhin, the third full-length album by Swedish Black/Folk Metal act Bhleg, sweeps the world with icy winds and drowns it in the beautiful colors of the night. Enswathed in ancient Scandinavian wisdom, this blackened metal offering muses on the endtimes, as the Norns’ twines of fate have never resounded clearer or with more vigor. Hailing from Västra Götaland, a county or län on the western coast of Sweden, Bhelg are a musical and spiritual journey spearheaded by vocalist L. and multi-instrumentalist S. that began in 2007, but which would not take shape until 2013, having released their debut opus Draumr Ást in 2014 and their sophomore effort Solarmegin in 2018. However, it’s now in 2021 that the duo, supported by session drummer A., sounds sharper than ever, offering in Ödhin six epic tracks of pure channeling of forceful darkness, showcasing vicious outbursts of savagery, reflective moments of melancholy and a primal strength with roots in all three worlds, mesmerizing us with a message as ancient as time that, in the end, our fate shall come for us all.

Obscure vociferations emerge from the pits of the underworld in the raw and epic Vyss, where A. delivers top-notch, old school Black Metal blast beats while S. hammers his stringed weapons mercilessly, all of course boosted by the demonic gnarls by L.; and continuing their darkened path of Folk and Black Metal we’re treated to Alyr III, another bold and dense extravaganza thoroughly crafted by L. and S., with endless epicness and melancholy flowing from all background elements (not to mention its atmospheric, acoustic passages). Then it’s time to wake up and join Bhleg in the eerie, cryptic interlude Gyllene Gal (or “golden gal” in English), tailored for embracing your soul and captivate your senses, albeit a bit too long, before the band comes crushing once again in Slukad Sol (“swallowed sun”), with A. pounding his drums in great fashion while S. keeps extracting razor-edge, piercing riffs form his guitar, resulting in a vicious onrush of Blackened Folk Metal that will please all fans of the genre. Moreover, L. is once again bestial with his enraged roars, making this marvelous musical voyage offered to us by such talented Swedish horde even more gripping. It’s impressive how they’re capable of blending the fury of Black Metal with the epic ambience and all acoustic and tribal elements from Folk Metal, which is exactly the case in the multi-layered tune Ödet (“fate”), whereas minimalist acoustic guitars permeate the air in the pensive outro Drömmen Om Vårdträdet (“the dream of the memorial tree”), where the subtle sound of the bitterly cold wind puts a beautiful ending to the album.

There are countless places where you can put your dirty hands on such amazing album of Black and Folk Metal, such as Bhleg’s own BandCamp page, the Nordvis Produktion webstore, the Sound Pollution webstore, Season of Mist, Napalm Records, Nuclear Blast, EMP, Apple Music, Amazon, and so on. As you can see, there’s no excuse to not support such talented underground act, and you can also follow them on Facebook and stream more of their music on Spotify to get even more immersed in their obscure, folk-infused realm. And until our fate comes for us all, we have a very good reason to keep banging our heads to the sound of Bhleg’s undisputed music.

Best moments of the album: Vyss and Slukad Sol.

Worst moments of the album: Gyllene Gal.

Released in 2021 Nordvis Produktion

Track listing
1. Vyss 9:16
2. Alyr III 8:56
3. Gyllene Gal 5:12
4. Slukad Sol 10:18
5. Ödet 8:36
6. Drömmen Om Vårdträdet 4:34

Band members
L. – lead vocals
S. – guitar, bass, keyboards, vocals

Guest musician
A. – drums (session)

Album Review – Bròn / Pred Dverima Noći (2020)

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Embark on an atmospheric voyage to the mysterious and untamed nature of Serbia’s wilderness adorned with enthralling, majestic soundscapes and endless streams of melodies and harmonies.

Through the cosmic mists it descends upon us, Pred Dverima Noći, the new (and fifth) full-length album by Atmospheric Black Metal/Ambient act Bròn. Formed in Edinburgh, Scotland in 2014 as a sonic chronicle of the wanderings of New Zealander KG (from Barshasketh), but currently based in Belgrade, Serbia, Bròn (which by the way means “sorrow” in Gaelic Scottish) has already released a handful of ambient, down-tempo albums exploring life within a sprawling urban expanse since the project’s inception, but now with the addition of drummer GH (from A Forest Of Stars), Bròn has permanently left urbanity behind and has returned to the mysterious and untamed nature of Serbia’s wilderness in Pred Dverima Noći. Recorded, mixed and mastered at Sonorous Studio, and featuring a grim artwork by Khaos Diktator Design, Pred Dverima Noći is adorned with enthralling, majestic soundscapes and endless streams of melodies and harmonies, propelling the listener into the vast expanses beyond the conscious mind throughout its three sprawling tracks, all clocking in at over 15 minutes, being therefore recommended for lovers of the music by Limbonic Art, Evilfeast and Darkspace, among others.

The atmospheric keys by KG grow in intensity in the opening track Dverima Noći, darkening the skies and preparing our senses for an onrush of Stygian and captivating Black Metal spearheaded by KG’s devilish gnarls and the fulminating drums by GH in a 16-minute journey through the bitterly cold lands of extreme music, changing its shape and form as the music progresses while showcasing stunning keys intertwined with venomous riffs. If that wasn’t complex enough for you, Bròn offers us all Usnulu Zlobu Razbudi, which already begins in full force like an infernal tempest, filling our ears with scorching riffs, vicious blast beats and endless obscurity while once again presenting elements from classic Black Metal, Atmospheric Black Metal and even Symphonic Black Metal for our vulgar delectation. Moreover, KG sounds like a true beast with his hellish roars and riffage, supported by the talented GH and his unstoppable drums in this full-bodied, dense and very detailed aria. And the third song from such grandiose album, entitled Zastore Skrai, brings forward more of Bròn’s thrilling and epic fusion of heavy and austere sounds with the finesse of atmospheric music, also presenting elements from Blackened Doom and Depressive Black Metal to make things even more somber. In addition, GH pounds his drums slowly and steadily while KG keeps gnarling with tons of anguish and pain, flowing darkly and embracing our souls majestically until the very last second.

In the end, after the three songs (which offer an impressive combined running time of over 52 minutes of music) from Pred Dverima Noći are over, you’ll definitely feel trapped in the vastness of the Serbian uncharted lands forever and ever, going back to the start to savor every second of such imposing album of Atmospheric Black Metal again and again. Hence, don’t forget to follow KG and his cryptic Bròn on Facebook and to purchase your copy of Pred Dverima Noći from his own BandCamp page (or you can also click HERE or HERE and select your favorite version of the album), inspiring the wanderer KG to keep exploring the most desolate, uninhabited and serene regions of the world armed with his idiosyncratic music, bringing a paradox of peace and violence to our souls just like a feral creature trying to survive in the cold and dark nights out in the wilderness.

Best moments of the album: Usnulu Zlobu Razbudi.

Worst moments of the album: None.

Released in 2020 Nordvis Produktion

Track listing
1. Dverima Noći 15:57
2. Usnulu Zlobu Razbudi 19:31
3. Zastore Skrai 16:56

Band members
KG – vocals, guitar, bass, keys
GH – drums

Album Review – Waldgeflüster / Mondscheinsonaten (2019)

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The perfect soundtrack for those crystalline winter, woodland walks, courtesy of a Bavarian heathen horde armed with their Folk-drenched Black Metal.

There’s nowhere like Germany in winter time. The forests, the castles, the markets and the “gluhwein” (a type of mulled wine from German-speaking countries made from red wine with cinnamon and other herbs and spices), all offer solace for the wandering winter soul, as well as the music as you’ll be able to enjoy in Mondscheinsonaten, the brand new opus by Munich, Bavaria-based Black/Folk Metal horde Waldgeflüster. Both the name of the band (German for “forest whisperings”) and the album name (which translates as “moonlight sonatas”) already give you a very good idea of how powerful their new Folk-drenched Black Metal eyries are, melting the coldest of hearts, but it’s after hitting playing and immersing yourself in their music that you’ll finally understand what Bavarian heathen music is all about.

Formed in 2005 as a one-man project by vocalist and multi-instrumentalist Winterherz (whose full name is Jan van Berlekom), Waldgeflüster evolved into a full-bodied band in 2014 when guitarists Dominik Frank and Markus Frey, bassist Arvagr and drummer Thomas Birkmaier joined Winterherz in his quest for metal music for good, after having played with him either as studio or live musicians in previous albums and concerts. Building strongly on the band’s heathen foundations, melding clean and harsh vocals seamlessly and integrating folk instrumentation sparsely enough to augment (but never over-embellish the exceptional blackened metal grounding), Mondscheinsonaten is perfectly pitched to fuel those crystalline winter, woodland walks with its immensely infectious melodies and haunting refrains, with the entire band sounding extremely crisp, mature and cohesive throughout the album’s over 60 minutes of stylish and enfolding music.

Embraced by the sound of the howling wind, the melancholic, acoustic Einleitung (“introduction”) warms up our hearts for the dense and thrilling Der Steppenwolf (“the steppenwolf”), with Winterherz growling deeply while Domink and Markus extract sheer darkness from their guitars. In other words, this is a journey through the realms of Atmospheric Black Metal and Blackened Folk Metal where the music keeps growing in intensity as time goes by, while Thomas, armed with his classic blast beats, makes sure not a single space is left empty. Then get ready for over twelve minutes of a flawless fusion of folk and extreme music entitled Gripfelstürme (“summit storm”), where the band’s guitar duo once again hypnotizes us with their scorching riffs and with Winterherz being on fire with both his demonic gnarls and his obscure clean vocals, also showcasing ethereal passages and backing vocals that add a touch of finesse to the overall result.  And Waldgeflüster continue to invade our minds and captivate our senses with the atmospheric Rotgoldene Novemberwälder (“red golden November forests”), uniting the most visceral elements from classic Black Metal with the melancholy of Atmospheric Black Metal, with strident guitar lines, intricate beats and pitch black darkness flowing nonstop from this bitterly cold aria.

In Und der Wind… (“and the wind…”), a serene intro explodes into sheer aggression and rage in the form of old school Black Metal with Thomas sounding bestial on drums while Arvagr delivers thunder through his bass lines. Moreover, your soul will certainly get lost throughout the song’s ten detailed and dense minutes; whereas in Von Winterwäldern und Mondscheinsonaten (“from winter forests and moonshine nights”) we’re treated to more flammable sounds flowing from all instruments, in special from Dominik’s and Markus’ guitars, with Winterherz roaring with all his strength while the music brings hints of Progressive Black Metal to make things even more entertaining. Then closing the regular version of the album we have the delicate Staub in der Lunge (“dust in the lungs”), beginning in the most serene way possible with its clean vocals and acoustic guitars dictating the rhythm before the entire band comes ripping one last time with their refined Black Metal sonority. In addition, Dominik and Markus once again steal the spotlight with their piercing guitar lines for our total delight. And if you acquire the black/grey double vinyl version of the album, you’ll also get the acoustic version for Der Steppenwolf as a bonus track, a beautiful and very delicate alternate rendering of one of the best songs of the album.

In case you’re already prepared to get lost in the heathen lands of Bavaria together with Waldgeflüster, you can enjoy Mondscheinsonaten in full  on YouTube and on Spotify, and purchase your copy of the album from the band’s own BandCamp page or from the Nordvis Produktion’s official webstore (as well as from several other locations by clicking HERE). In a nutshell, as aforementioned the “moonlight sonatas” by this talented horde of musicians hailing from the stunning Bavaria are the perfect soundtrack for a cold and pensive winter walk, proving once again Folkened Black Metal is more than just a subgenre of extreme music, but an intrinsic part of the lifestyle and culture of the coldest parts of earth.

Best moments of the album: Der Steppenwolf and Gripfelstürme.

Worst moments of the album: None.

Released in 2019 Nordvis Produktion

Track listing
1. Einleitung 3:08
2. Der Steppenwolf 7:51
3. Gripfelstürme 12:21
4. Rotgoldene Novemberwälder 6:28
5. Und der Wind… 10:52
6. Von Winterwäldern und Mondscheinsonaten 9:51
7. Staub in der Lunge 5:48

Black/Grey Double Vinyl bonus track
8. Der Steppenwolf (Acoustic version) 7:57

Band members
Winterherz – vocals, mandolin, keyboards
Dominik Frank – guitars, backing vocals
Markus Frey – guitars
Arvagr – bass, backing vocals
Thomas Birkmaier – drums

Guest musician
Johannes Schermaul – cello

Album Review – Bergraven / Det Framlidna Minnet (2019)

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Never shy of venturing to the very edge of the extreme music terrain, this cult Experimental Black Metal unity from Sweden is back after 10 years with a brand new album dealing with memories, regret and despair.

Swedish Experimental Black Metal unity Bergraven is never shy of venturing to the very edge of the extreme music terrain and staring into the maddening abyss, delivering an always interesting and unique fusion of a wide range of styles such as Progressive Metal, Avantgarde/Atmospheric Black Metal and Post-Black Metal that penetrates deep inside our ears and minds. Now in 2019 the band formed in 2002 in the city of Hässleholm, but currently located in Malmö, is ready to take us on another vibrant journey beyond the boundaries of Black Metal with their brand new opus, entitled Det Framlidna Minnet, or “the lost memory” in English, ten years after the release of the excellent Till Makabert Väsen.

Carefully mastered by T. Stjerna at the renowned Necromorbus Studio (Watain, Armagedda, Mayhem, Shining) in Stockholm, Det Framlidna Minnet deals with memories, their fluid nature and how the healthy human spirit builds a wall around itself with adjusted memories, and yet sometimes the system corrupts and memories become ghosts that haunt their hosts with regret and despair. If these words are not enough to show you the true uniqueness and potency of the music by Bergraven, which by the way means “mountain black” in English, then let the triumvirate comprised of Pär Stille  on vocals and guitar (also known for his work as guitarist and songwriter for Swedish Black Metal band Stilla), Andreas Johansson on bass and Johan Marklund on drums guide you on a one-way journey into the realms of experimental heavy music made in Scandinavia.

The intro Minnesgåva (“memory gift”) provides the listener a very good idea of how wicked and bizarre Bergraven’s music is, with all its eerie noises and beats permeating the air until Allt (“all”) comes to haunt our souls with its creepy atmosphere and piercing guitar lines, while Pär begins his growling attack barking like a demon, with the music flowing demonically and obscurely into an abrupt and vile ending. Den Följsamma Plågan (“the painful plague”) is even more eccentric and experimental, with Pär and Andreas making sure even the acoustic moments do not sound calm at all, always adding a touch of dementia to their musicality in seven minutes of Post-Black Metal not recommended for the lighthearted (not to mention how its ending reeks sheer melancholy and insanity). And the metallic bass punches by Andreas and the Doom Metal-inspired beats by Johan provide Pär all he needs to roar in Minnets Melankoli (“memory of melancholy”), a Mastodon-meets-Gojira-meets-Dream Theater-meets pitch black darkness tune where the music alternates between serene, somber passages and a disturbing havoc for our total delectation.

Swedish words flow disturbingly from Pär’s deranged vocals throughout the over eight minutes of modern, progressive and doom-ish Post-Metal in Leendet Av Hans Verk (“the smile of his work”), where Johan’s beats get more and more obscure as the music progresses, adding even more thunder to the song’s visceral riffs and menacing ambience, followed by Den Dödes Stigar (“the paths of death”), bringing elements from Folk Metal to Bergraven’s already distinguished musicality. Furthermore, Pär doesn’t stop vociferating deeply and with a lot of anguish while Johan smashes his drums beautifully, resulting in a very detailed song that’s full of breaks, variations and creepy passages, remaining dense and enfolding from start to finish. Then get ready to be dragged into the pits of hell with over ten minutes of disturbing Experimental Black Metal in Till Priset Av Vårt Liv (“for the price of our lives”), led by Pär’s sulfurous gnarls and slashing riffs. In addition, it’s interesting to see how the trio gradually reduces the song’s pace and speed, slowly attracting us to their sonic realm, capturing our souls and keeping us in darkness forever. And there’s still time for a beyond dissident outro similar to the album’s intro, this time entitled Eftermäle (“posthumous reputation”), as if the band wanted to close the circle offering us a feast of whimsical sounds and tones.

You can actually savor all of Bergraven’s eccentricity by listening to Det Framlidna Minnet in full on Spotify, but if you’re already convinced of the band’s undeniable talent and insanity, you can also follow them on Facebook and purchase your copy of the album from the Nordvis Produktion’s BandCamp or webstore (in Digipak or LP format), as well as from iTunes, Amazon or Discogs. It’s not everyday that we, mere mortals, have the pleasure of facing such peculiar, nonconformist music like the one blasted by Bergraven, so don’t waste your time and succumb to the most unconventional side of Swedish heavy music together with Mr. Pär Stille and his horde. It’s surely worth the ride.

Best moments of the album: Allt, Minnets Melankoli and Den Dödes Stigar.

Worst moments of the album: Den Följsamma Plågan.

Released in 2019 Nordvis Produktion

Track listing
1. Minnesgåva 2:25
2. Allt 5:56
3. Den Följsamma Plågan 7:20
4. Minnets Melankoli 8:03
5. Leendet Av Hans Verk 8:20
6. Den Dödes Stigar 8:34
7. Till Priset Av Vårt Liv 10:41
8. Eftermäle 2:58

Band members
Pär Stille – vocals, guitar
Andreas Johansson – bass
Johan Marklund – drums

Album Review – Skogen / Skuggorna Kallar (2018)

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Weaving a tapestry of triumph and tragedy, loss and remembrance, this Swedish quartet translates the beauty and melancholy of their homeland into first-class Blackened Folk Metal.

Born in 2009 under a frozen Swedish moon in the city of Växjö, Blackened Folk Metal horde Skogen has their sonic pentagram of albums in homage to the stark, nebular beauty of their motherland. Formed by vocalist and bassist Joakim Svensson and guitarist and vocalist Mathias Nilsson, who played together in other bands and shared the same musical vision, Skogen (which means “forest” in Swedish) released their debut album Vittra, in 2009, followed by Svitjod, in 2011, Eld, in 2012, I Döden, in 2014, and finally Skuggorna Kallar (or “the shadows call” from Swedish), now in 2018, all blending the robustness of Black Metal with the melancholy of folk music in a captivating manner, weaving a tapestry of triumph and tragedy, loss and remembrance.

Possessed by the mysteries of nature and dedicated to paying homage to its majesty, both in light and darkness, Skogen will offer your avid ears a polarity of sounds felt in their music as subtly beautiful melodies and clean vocals are woven into the more pervasive darker tones that saturate Skuggorna Kallar, like the blanket of night, heavy with dew. Joakim and Mathias, accompanied by Jonathan Jansson on the guitar and L. Larsson on drums, as well as an array of fantastic guest musicians, deliver their most complete and darkest work to date in their new album, a must-have for fans of the cold and austere sounds of the North.

The opening track of the album Det Nordiska Mörkret, is also one of their two with a Swedish name, meaning “the Nordic darkness”, beginning in full force and as heavy and somber as it can be, where the anguished clean vocals by Joakim bring a touch of melancholy to the music while the background elements such as the whimsical bowed lyre by guest Vittervärja also enhance the song’s taste and impact considerably. Faster and leaning towards classic Folk Metal, När Solen Bleknar Bort (“when the sun fades away” from Swedish) presents more aggressive and cavernous vocals, with the music flowing smoothly thanks to the amazing riffage by the band’s guitar duo, not to mention L. Larsson’s precise beats; and their darkened sounds keep haunting our souls in Nebula, a gripping fusion of Folk, Black and Doom Metal, with the guitar lines by both Mathias and Jonathan sounding truly captivating, resulting in an enfolding sonority that will please all fans of such distinct underground metal genre.

An ominous, almost tribal bridge titled Omen sets the tone for the bitterly cold and neck-breaking Frostland, where L. Larsson and his rhythmic beats dictate the song’s pace while the band’s stringed trio fires some lancinating and thunderous riffs and punches in a vibrant display of Blackened Folk Metal. Then a somber atmosphere embraces one of their darkest compositions, The Suns Blood, with Joakim growling like a demonic entity while L. Larsson and his Doom Metal beats keep the music lugubrious and vile, also presenting guitar riffs and solos that bring more electricity to the overall result (as well as its folk, acoustic moments), whereas a giant wave of Black and Folk Metal arises in one of their boldest creations, the amazing Beneath the Trees, with all band members sounding crisp and aggressive, generating an epic ambience perfect for Joakim and his anguished gnarls, also feeling like two or three songs in one. Lastly, the bad offers us The Funeral, another 8-minute Folk Metal aria starting in a smooth, almost acoustic manner before exploding into beautiful extreme music, fading into a melancholic piano piece courtesy of guest musician Dísa, and then again getting back to the band’s puissant sonority until the song’s soulful ending.

In case you want to show your appreciation for Skogen, you can pay them a visit at their Facebook page for news, tour dates and other nice-to-know information, and of course buy your copy of Skuggorna Kallar (available for a full listen on YouTube) from their own BandCamp page, from the special page dedicated to Skogen at the Nordvis Produktion website, or from several other retailers like iTunes and Amazon. In a nutshell, Skogen more than succeeded in translating the beauty and melancholy of their beloved Sweden into their multi-layered folk music, carving their name as one of the most interesting and exciting groups from the underground Swedish metal scene.

Best moments of the album: När Solen Bleknar Bort, Nebula and Beneath the Trees.

Worst moments of the album: Frostland.

Released in 2018 Nordvis Produktion

Track listing   
1. Det Nordiska Mörkret 4:46
2. När Solen Bleknar Bort 4:54
3. Nebula 3:43
4. Omen 1:44
5. Frostland 4:24
6. The Suns Blood 4:33
7. Beneath the Trees 8:46
8. The Funeral 8:29

Band members
Joakim Svensson – vocals, bass
Mathias Nilsson – guitars, vocals
Jonathan Jansson – guitars, vocals
L. Larsson – drums, vocals

Guest musicians
Dísa – piano
Elis Edin Markskog – vocals
Vittervärja – bowed lyre

Album Review – Falls of Rauros / Vigilance Perennial (2017)

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Feel embraced by the Black and Folk Metal thoroughly crafted by this American quartet, ranging from a multilayered bout of aggression to beautiful moments of music that twist with a powerful and honest emotion.

Rating4

nvp055-coverTheir name comes from one of my favorite books of all time, J.R.R. Tolkien’s The Lord of the Rings, inspired by the great falls of River Anduin beneath Nen Hithoel, where the river fell from Emyn Muil to the wetland of Nindalf. Their music, a fusion of Black and Folk Metal with several other elements from distinct genres of music, ranges from a multilayered bout of aggression to beautiful moments of music that twist with a powerful and honest emotion. I’m talking about Falls of Rauros, an extremely talented quartet hailing from the city of Portland, Maine, in the United States, who are releasing their fourth full-length album titled Vigilance Perennial, for the delight of fans of complex and atmospheric music.

Since their inception in 2005 the band has been in a constant state of evolution in their career, with their music flowing organically and increasing in intensity with each of their releases. Featuring an impactful artwork by Sólfjall Design, Vigilance Perennial offers the listener five unique compositions that not only represent the core essence of Falls of Rauros, but that will also take you on a journey of creativity and discovery together with the four members of this idiosyncratic band. If you truly open your mind to the music found in Vigilance Perennial, the entire album will probably become a constant part of your daily music playlist without a shadow of a doubt.

Smooth guitar lines by Jordan and Aaron kick off the opening track, White Granite, being gradually accompanied by Evan on bass and Ray on drums, before Jordan begins firing some hellish gnarls completing the band’s aforementioned fusion of Folk and Black Metal, in this case nicely complemented by subtle hints of Doom Metal. You’ll be travelling through serene fields and harsher landscapes with the band in this full-bodied composition, elevating your emotions and senses before the second aria of the album, Labyrinth Unfolding Echoes, continues to guide you through Falls of Rauros’ whimsical journey. Slow beats and soulful guitars dictate the rhythm in the song’s gentle beginning, but it’s after around three minutes that things get more flammable with their dark and melodic Folk Metal exploding once again, with Jordan growling in a very somber way while Evan and Ray add a lot of progressiveness and epicness to the sonority.

The instrumental piece Warm Quiet Centuries of Rains showcases two minutes of tranquil guitar lines and a pleasant atmosphere, preparing our ears and souls for the dense and multilayered composition that will certainly blast the minds of fans of the genre entitled Arrow & Kiln, where the band fires heavy and aggressive sounds from the very beginning, with Jordan sounding more menacing and demonic than before. Moreover, Ray has an amazing performance on drums with both his Black Metal blast beats and his more rhythmic and progressive beats, helping the other members to constantly alternate between calm instrumental passages and piercing folk sounds powerfully. And closing the album Falls of Rauros offer us all another extreme music extravaganza named Impermanence Streakt Through Marble, a very harmonious and exciting tune where all band members deliver top-notch Folk and Black Metal through their sharp instruments. The song gets remarkably heavy at times, especially halfway through it, with the riffs by Jordan and Aaron and the precise drumming by Ray creating a darkened ambience perfect for the harsh growls by Jordan to sound even stronger.

If you’re ready to tame the unrestrained waters of Falls of Rauros, simply go check their Facebook page for more details on their career, tour dates and future plans. And there are so many different places where you can grab your copy of Vigilance Perennial I might have missed one or two from my list, as you can buy the album at the Falls of Rauros’ BandCamp page, at the Nordvis Produktion’s BandCamp page or webstore (in CD or LP format), at the Bindrune Recordings’ webstore also in CD or LP format, as well as on iTunes or Amazon. Feel embraced by the beautiful extreme music crafted by Falls of Rauros, and let your emotions flow to the sound of their distinguished creations.

Best moments of the album: Labyrinth Unfolding Echoes and Arrow & Kiln.

Worst moments of the album: None.

Released in 2017 Bindrune Recordings/Nordvis Produktion

Track listing
1. White Granite 10:11
2. Labyrinth Unfolding Echoes 9:30
3. Warm Quiet Centuries of Rains 2:17
4. Arrow & Kiln 12:02
5. Impermanence Streakt Through Marble 10:17

Band members
Jordan – vocals, guitar
Aaron – guitar, vocals
Evan – bass
Ray – drums