Fimbul ‘Ramnens Ferd’ Candarian Demon Productions
	Here we have a release that is more a labour of love than a label cashing in on some demand for obscure demo release from the mid nineties. There can be no purer form of underground release. Many of you will be wondering who Fimbul are, and those who know will probably have never heard of the bands music. The demos appeared in the age of the cassette, so to actually hear the songs digitally for the first time gives the music another lease of life. The sound is far better than the tapes, still murky, but for a demo, quite clear and endearing. Fimbul released two demos in1995: Vinterlans, and the Det Siste Slaget. This was a year
that also saw the debut albums from Dodhiemsgard, Ulver, Ragnarok, and Dimmu Borgir. The second Wave of Norwegian Black Metal was full motion, and Fimbul embody this magical era with the 8 tracks here. The thing that becomes apparent is the two fold musical experience Fimbul emanate. Firstly, there are the minimalist icy Emperor, Wrath of the Tyrant era, compositions, remote Black Metal, cold to the bone and lifted by graveolent vocals. Secondly, the demo era Mortiis style of lulling ambient, keyboard drones, evoking an atmosphere of suicidal silence. The fusion of these two styles gives a roasting hot, meets icy cold atmosphere, where the serenity of the listless keyboards ebb against the more fervent guitar constructed songs. Fimbul were a highly creative entity, and one of the many bands who slipped under the radar in that golden age of Norwegian Black Metal. [until now that is]. Both demos are similar in style, and well worth a listen. Fimbul contact www.myspace.com/fimbulnorway Label contact www.myspace.com/candariandemonproductions | www.candariandemonproductions.com
Furze ‘UDT’ Candlelight Records
	Existing in the murky depths of the underground since 1998, Furze exists through the compositional dissipation of The Reaper, multi instrumentalist and Black Metal maverick. With two albums already having confused and bewildered many underground fans in the form of, Trident Autocrat 2000, and, Necromanzee Cogent 2003, we are now afforded the chance to dissect a third. Again, musically embracing the cold icy rancour of Darkthrone, and yet this base fabric is torn and weaved into an anomalous collection of biting songs that will challenge the most intrepid of Black Metal enthusiasts. This is not an easy album to absorb. The fluency of how we construe harsh extreme music
to reveal itself, is lost in a pensive tumult of irregular rhythmic uncertainty. There is a seemingly esoteric spine running through the arrangements, designed to confuse and harrow the listener. There is flamboyance to the writer’s art, a madness that reaches far beyond the restraints of Black Metals pallid conventionality. At times the whole irregular music can be likened to an improvised practice session, with the path of the music uncertain, the end, neither in sight, not apparent. What cannot be ignored is the astuteness riveted to the music’s edge, a refinement of mind bending angles that berate the senses with every rhythmic note. Furze, resides alongside other visionary acts that have carved their own paths, isolated their muse within a fine balance of brilliance and nondescript musical art. The likes of, Sigh, Ulver, or Arcturus, have all carved their own paths of musical extravagance, as will Furze. Originality seeps through every part of this album, whether you will understand the method in the madness is another thing altogether. www.furze.net
Gala ‘Skogskvad’ Heavy Horses Records
	Viking Metal in name, yet far more versatile in delivery. The Viking theme is adhered to in Nordic lyrics and visual imagery, and the choral elements of Windir and more notably, Borknagar are replicated. The differences are to be found in the polished sound and heavy leanings towards the sharp choppy riffs of the likes of In Flames. The guitars are crystal clear, weaving impressive solos, whilst the harsh and clean vocals work together seamlessly. Vintersorg, are a more significant comparison for the clarity of sound and the vocal similarities. The fast and slow arrangements are tethered to intricate guitar sections and acoustic interludes, all reaffirming the Viking atmosphere. There are no blatant
Norwegian sound bites, as the music steers clear of the icy dryness of the more orthodox styles. A highly enjoyable and intelligent release that will appeal to fans above and beyond the underground. www.heavyhorsesrecords.de
Gjenferdsel ‘I’ Ketzer Records
	Brooding, remote rhythms that ooze a doom like morose. From the opening track to the final knell toll, it becomes manifest that this band are in no hurry, and that the slow burning Black Metal style they employ is designed towards a wider audience than the more vitriolic ball blistering approach of others. The plodding musical compositions can be likened to, Dimmu Borgir's first album without keyboards, or even Windir’s loose song writing style. The sound is clear and stark, with up-beat riffs set to inoffensive tempos. Snarling vocals ravage the mix, yet, it all feels so safe, very predictable and harmless. The tracks are so similar in texture and tone, with a hollow drum sound set to lengthy arrangements, that by
the end of the album, it becomes apparent there is a much of the sameness about the whole experience. Gjenferdsel, inadvertently fall between the vitriolic violence of Mayhem, and the epic magnificence of Dimmu Borgir, reaching neither and becoming in the process a little lost. Still, the album's a solid reflection of the bands own musical vision. www.ketzer-records.de | www.gjenferdsel.no
Pantheon I ‘The Wanderer and His Shadow’ Candlelight Records
	Stinging snares and a chilling severity to the guitar riffs. Here we have a band who play at a blistering pace through a decent production and grasping a sound that stands astride the Black/Death styles of Emperor and Dissection. There is a complexity that anchors the rapid compositions to a more death metal foundation, an almost grinding snare attack coupled with some scowling vocals that literally cut through the air like smouldering bullets. All this rip roaring extremity is made more agreeable to the ears thorough some magnificent song craft. The addition of violin on the track, Here Angels Burn, and the vocal clarity of Solefalds, Lazare, on the track, Coming to an End.
The musical ferocity is not as biting as fellow countrymen, Zyklon, although both bands employ a neurotic compositional style, each reaching to a different tone, yet both adhering to a singular conclusive pathos. Pantheon I, have a deep emotive flame that gives the music a dramatic touch. www.pantheon-i.com
Selvhat ‘Eimsam in Ewigkeit’ 7” Nordkult Rituals
	Another fine vinyl 7” reeking of the turgid stale Underground. The cover is blacker that pitch and there is no information whatsoever to inform you who you are listening to, unless you know in the first place. Selvhat, play a bleak, Strid like Black Metal. Torturous vocals snarl across drowsy hypnotic rhythms doused in a vapid slothful atmosphere. The two tracks trudge through a repeating guitar riff restrained in a minimalism at ease in a funeral procession. Both tracks are similar in this downcast tempo and emanate a cold emotion wholly imbued with cheerless hopelessness
If you are familiar with the mighty Strid 7” EP, then, Selvhat are the closest Norwegian act I have come across to create the brooding atmospheres so unique to that cult Black Metal entity.
Throne of Katarsis ‘An Eternal Dark Horizon’ Candlelight Records
	Hellish Black Metal displaying the un-refined wretchedness of old school traditionalism. With 5 tracks, each clocking in at around 12 minutes, it is apparent the demented ferocity of the music is set to involved, winding arrangements that drag much of the elements we expect to absorb from this style of basic marginalized Black metal. Like fellow countrymen, Gaahlskag, [and on numerous occasions classic era Mayhem] Cult of Katarsis, reside in an under produced noxious chaos set to music. The Unholy Holocaust Winds demo of 2004, is in my top 100, and the track, The Funeral Moonlight, having surviving from the demo, opens the album here. Not much. If anything
has changed in tone or the murderous way in which the tracks are delivered. The slower movements can be likened to a bedraggled Bathory composition twisted into a chilling, lumbering hymns to Satan. The vocals evoke the haunting gargle rasps of Attila Csihar, and on occasion the familiar guitar strains of Black Sabbath can be distinguished from the frenzied stygian atmosphere. With tracks set at such a lengthy duration the band employ certain set pieces to break up the seemingly endless song familiarities with bursts of pace, choral chanting, funeral knells, howling winds, Burzum-esque vocal screeching, Bathory bombast, and acoustic guitars. Epic ear hammering Black Metal is what you get, with great memorable moments leaping out of the tracks to keep the whole concept from falling into a forgettable pit of despairing complacency. A most recommended piece of Hellish repose. www.throneofkatarsis.com
Various Artists ‘A Norwegian Hail to Von’ Double 7" EP Holycaust Records
	Von were a black metal band from the Bay Area in the U.S.A, that released a couple of demos and live/rehearsals in 1998/89. The music could be described as a prototype for ‘Transylvanian Hunger’, cold, minimalism set to basic chords and low grunt vocals. This release (which comes in a limited edition gatefold sleeve on 2 x 7" EPs on red vinyl) covers 4 of those tracks, from four of Norway,s black metal elite: Amok (featuring ex-Immortal + Taake members) Norwegian Evil (featuring Infernus and Tormentor of Gorgoroth/Orcustus), Taake (also in Ragnarok), Urgehal (Vulture Lord members). Taake, rip though Lamb, and having less than 2 minutes to hammer home their version,
seems criminally short. A whole side of a 7” lost in a blizzard of angst driven rhythms. Its one of those tracks where the band just plug in, play and fuck off. Urgehal creating a fine slow brooding rendition of, V, an unusual instrumental and yet without any vocals, the distinctive markings of the band are never displayed. Amok, hammer home a reliable version of Von. A ball breaking version complete with those essential low grunt vocals. The haunting mid-section and insane finale are moments of genius. Norwegian Evil’s mad version of Satanic Blood, sounds like it was recorded in a cement mixer. This track embodies Vons rolling riffs spinning out of control in a repetitive cycle of mind twisting carnage. This is a great release dedicated to cult band. www.holycaust.com