My Dying Bride - The Thrash of Naked Limbs (1993)

The Thrash of Naked Limbs marked somewhat of a turning point for My Dying Bride. It was recorded in September 1992 and released in early 1993, between their first and second full-length albums. The band's sound had been, gradually, improving with each release. However, this E.P. represented the birth of their classic guitar tone. This sound would remain with them for the next four or five years. It wasn't only the guitar tone, but the overall sound seemed to be slightly cleaner and a bit more full. Whereas the previous material still had more of a raw and harsh production, that which is found on here (and subsequent releases) is more refined. That's not to say that it lacks harshness. Aaron's vocals are still powerful and razor sharp, at times.

The E.P. begins with "The Thrash of Naked Limbs", and there is a dismal feeling present from the very first riffs. The violin accentuates this with its own sorrowful wailing. There is a sense of dread that exists in the riffs; Some songs may create an atmosphere of mourning but here you also get to experience the loss as well. The song is mid-paced and crushingly heavy, destroying your feeble spirit with ease. The brief bits of violin are much like icy daggers tearing into your flesh. There are several changes in pace, as the old tendencies to toss in faster Death Metal parts still remains. It's not as out of place as on earlier songs, and works well to create contrast between that and the absolutely lifeless riff that follows.

"Le Cerf Malade" is an ambient/instrumental track that utilizes some eerie effects to help set a dark mood. It's nothing exceptionally noteworthy, and I would not say that it stands on its own in any way, but it's not a bad addition to this E.P. As a part of the greater whole, it works fine.

The third and final song is "Gather Me Up Forever". It starts with a rather generic Death Metal riff before things slow down to a bleak and hopeless Doom riff. They seem to be onto something for a few moments, before the speed picks up again. I can appreciate the desire to add some sense of dynamics to this, but the faster riffs could have been shortened and still had the desired effect. The slow, miserable riffs are the ones that they should have expanded upon.

"The pain never stops"

In the end, The Thrash of Naked Limbs is a solid release, but I would say that only the title track would be deemed worthy of repeated listens. The original slimcase version of this is long out of print, so try to collect these tracks on the Trinity compilation.

Loss - Life Without Hope... Death Without Reason

Life Without Hope... Death Without Reason is the first demo release from the American band Loss. They play a style of Funeral Doom that shows strong influences from Worship and Mournful Congregation. Originally released in 2004, this demo came with a razor included in the package.

"Coffin Nails (Intromancy)" begins the demo with random feedback, screeching and a few stray bass chords. Perhaps the band was attempting to set the tone for the songs to follow, but it is rather pointless and adds nothing to the release.

The first real track is "Conceptual Funeralism Unto the Final Act (of Being)". It begins with a very mournful riff that takes the best parts of the bands that influenced them and creates something dreary and depressive. In a way, the style of riffs is more reminiscent of early My Dying Bride, as the sound is a little more dynamic than bands like Thergothon or Skepticism. The overall quality is fairly good, considering that it is a demo. It's clear enough for each riff to stand out and really have the desired impact, yet it still retains somewhat of a rough vibe. The vocals are the only real weak point. The style is that of a very deep and guttural whisper, similar in a way to old Incantation yet not as distinct. The band would have benefited from a vocalist with more range and ability to convey emotion through the vocals. Despite this, the song is very good for what it is. Later on, there's a riff that has an almost uplifting feeling and utilization of the typical Doom Metal drum fills. This is followed by a more sombre guitar melody that reaches into your chest and begins to crush your heart. The feeling is very epic and one can tell that the musicians have a very good understanding of what they were setting out to accomplish. Even the lyrics fit well with the music, though the actual delivery being the main setback. However, this is actually something that is common to the sub-genre.

The second, and final, song on the demo is "Cut Up, Depressed and Alone". From the very first note, you realize just why this release originally came with a fresh razor blade. The miserable guitar riffs wrap around you and begin to squeeze the life right out of you. Somehow, these melodies call forth every sorrowful moment that you have ever experienced, and it all washes over you at once. Even without the lyrics and the sub-par vocals, the music itself speaks to the listener on a deep level. You can feel the hopelessness and utter emptiness. After a few minutes, things become very silent and only a clean guitar remains, playing a very simple yet effective melody. Without realizing it, you may find that you've taken the razor and opened up your flesh. This transitions to another epic and depressing riff, as the blood escapes your veins.

The only real fault here lies in the execution of the vocals, but many other Funeral Doom bands are guilty of this as well, so there's no need to point a finger at this band, alone. Musically, the songs are very well constructed and dynamic enough to hold your interest while still being slow and lifeless enough to convey the feelings of despair and misery. Life Without Hope... Death Without Reason is a solid demo that is, unfortunately, the best work this band ever came up with. None of their subsequent releases have managed to live up to the potential shown here.

Burzum - Belus (2010)

This has to be one of the most anticipated albums in recent memory, comparable to the feeling that preceded the release of the last Dissection album. However, unlike Jon Nödtveidt, Varg Vikernes was repeatedly denied parole, thus his incarceration dragged on. It seemed as if it would be endless. Then, last year, he was finally free. He had been speaking for the past few years, with regard to a new Burzum release, stating that it would most likely sound like Filosofem. Regardless of which album was preferred, most fans were relieved just to hear that he intended to return to the Black Metal sound of his early works. While Dauði Baldrs and Hliðskjálf certainly warrant attention, they simply weren't the same. And so, in the winter months, Varg returned to Grieghallen to record his first album in over a decade. For many of us, this had been a near-unbearable wait. For others that had only just discovered the band, there was still a great deal of interest. Could the album possibly live up to the expectations that everyone had for it? Some were ready to praise it, no matter what it sounded like, out of loyalty to Burzum. Others were prepared to lambaste it, before even hearing it, because they dislike Vikernes as a person. For better or worse, many had shifted their attention to Belus, released on 8 March.

The album begins with "Leukes Renkespill (Introduksjon)", which is a brief intro that features the sound of a hammer hitting an anvil. Similar to Dauði Baldrs this album deals with the story of Baldr, though with a more developed approach. The sounds heard in the introduction are a part of this, but it still fails to prepare for what is to come.

"Belus' Doed" begins with an eerily familiar melody. This first song is a reworking of the track "Dauði Baldrs", and Varg has done an incredible job of maintaining the dark feeling present in the original and adding so much more to it. The first thing to notice has to be the vocal performance. Many people seem to have a difficult time with the vocal style from the early albums, though I actually prefer that sound to anything else that he has done. Incredibly, Varg himself looks back on these previous performances with some amount of disappointment. At any rate, there was much speculation regarding how he would sound, all these years later. Thankfully, the extremely distorted style used on Filosofem does not return. The vocals are similar enough to the old albums that one can instantly tell who this is, but they are a little deeper and more controlled. With that said, the vocals are very powerful and filled with conviction, matching the dark atmosphere of the song. The brief spoken word parts also add another dimension, accentuating the dismal mood. The production is a bit fuzzy and definitely not overdone, though the digital recording removes the openness that was present on the early albums. This mid-paced track is dominated by brilliant tremolo melodies that play over somewhat thrashy rhythm guitars. The bass is audible, though seeming to follow the main theme. If certain elements of this album have to grow on the listener, through a few listens, this song is absolutely the exception to this. The melodies and vocals are haunting and they permeate your subconscious on the very first listen. You will hear the death of Belus in your dreams.

"Glemselens Elv" is next, and the title translates to "The River of Forgetfulness". It begins with a tremolo riff alongside a loud bass line, before the drums and another guitar enter and carry the song forward. This is a nice way to build some tension and anticipation. As one would expect, this song is also rather mid-paced yet the tremolo melodies weave in and out of your mind, lulling you into a trance. At nearly twelve minutes, this is the longest song on the album and maybe the most hypnotic as well. The vocals feature a combination of harsh and clean, simultaneously, though the clean vocals are a bit lower in the mix. Everything about this screams Burzum, from the drumming patterns to the riffs, themselves. It's long been said that Varg has been one of the most copied musicians, ever, and yet no one has ever been able to recreate the magic in the same way. One can imitate the overall style, attempting to match the guitar tone or the vocal style, but not one single band has ever even come close. After about four minutes, the pace changes and another brilliant tremolo melody arises from the blackened depths. There's a refrain of clean vocals, used almost in a chant-like manner. The feeling is abysmally dark and dreary. A few minutes later, another soul-murdering riff emerges from the shadows and brings to the listener a slow death. On the first listen, this song was a bit difficult to sit through, as I was eager to get to the rest and hear what I'd waited for, for a decade. After repeated listens, the brilliance has unfolded, lured me in and enveloped all. It is also worth noting that, on this album, all of the lyrics are in Norwegian. In the past, of course, Varg utilized English as well, but it seems that he has rejected the use of the "international language".

The next song, "Kaimadalthas' Nedstigning", starts out with great intensity. The riffs are fast and thrashy, though still repetitive and somewhat droning. This continues the trance-like feeling present on the previous track. The energy level has increased and the urgency found in the vocals adds to this. There are calmer moments, with a single line spoken in a grave and serious tone. There is nothing uplifting about this. The sombre atmosphere of darkness and dread is ever-present and the cold hand of doom stretches out from the shadows, reaching for you. As the song progresses, the pace slows down and the riffs possess a cold and dreary feeling. You can feel the empty black hole growing within. As the song concludes, one line is repeated again and again, in an eerie manner.

"Jeg reiser til mørkets dyp der alt er dødt."

"Sverddans", meaning sword dance, tells the tale of winter coming under attack from the foul and disgusting summer. This song has its origins in the pre-Burzum project, Uruk-Hai. Clocking in around two and a half minutes, this one is the shortest proper song on the album. Some seem to feel that it is out of place, though it seems to make perfect sense, regarding its placement. The album has built in intensity, over the course of the previous songs, reaching sort of a climax with this track. Similar to "War", from the debut album, this merely adds another dimension to the album and displays yet more versatility on the part of the musician.

The next song possesses on the best riffs of the entire album. "Keliohesten" slowly rises from the nothingness, and then unleashes a brilliant tremolo melody upon an already exhausted listener. The drumming is fast-paced, suiting the main riffs, and the vocals are lethal in execution. The lyrics tell a depressing story, as the snow melts and winter is fading away. The horrible summer spirits celebrate their triumph. The cold riffs convey a deep sorrow, or perhaps they bring this to the surface; that which already resides in the dark recesses of your spirit. By the middle of the song, there is a thrashy riff that only serves as a transition back to the cold and deathlike atmosphere of the main theme. Though the sound isn't very similar, the structure of this song is somewhat reminiscent of that found on Hvis Lyset Tar Oss, to a small degree.

"Når snøen smelter gråter vi
vinteren har blitt beseiret"

Just when you feel safe from the utter black and the freezing emptiness of absolute oblivion, "Morgenroede" comes to plague you with such a life-draining and hopeless feeling that death soon calls your name. The song marks the slowing of the overall pace of the album, as it now makes its funeral march toward the end of all things. There is a sense of urgency in the first riffs, then turned to emptiness and sorrow with the coming tremolo melody. The pulsing of the bass is almost like that of the heart beating for its final moments, pumping out the remaining blood and bringing on lifelessness. Nothing lasts forever. All that which one finds meaningful in this wretched world will succumb to decay and death, in one form or another. Just like the snow will melt and winter recedes, all hope will fade to nothingness and emptiness prevails. After a few minutes, the final words spoken on this album then give way to a new riff, one filled with utter despair. The drumming reminds of that found later in "Tomhet", yet the atmosphere here is similar in its desolate and miserable feeling. The riffs become very repetitive, building the sorrowful aura and draining you of any and all life. One sees through illusions of optimism and positivity. There is none. These things are not real. They never were. They are but creations of man, much like gods, to try to trick ourselves and to avoid facing the bleak and harsh reality that is existence. It is meaningless and empty. The melodies found in this song are like freezing knives, carving the listener more viciously than the subject of an autopsy. You are laid open and bathed in misery and the horrible truth of the world.

And, finally, the album reaches its end with "Belus' Tilbakekomst (Konklusjon)", which is an instrumental that features very simplistic chords and riffs, yet it builds on the desolate feeling created by the previous song. It's very droning and repetitive, serving as the final journey into the endless graveland. Your corpse is dumped into the cold earth, forgotten and nameless, as your spirit is consumed by the great abyss of suffering and eternal torment. This isn't the end. This isn't the beginning of the end, yet the end of the beginning.

Belus may be the final death cry of the legendary Burzum, as Varg Vikernes may opt to disappear into obscurity. However, it may very well be a rebirth. While the overall feeling is undoubtedly Burzum, the sound is not identical to the classic albums. It seems, very much, like a time capsule from an earlier period and is about as close to the old output as any of the Norwegian bands are likely to get. Forget about the legions of bands that have attempted to imitate this style, over the years. Burzum has returned.

Katatonia - Jhva Elohim Meth (1993)

Jhva Elohim Meth... the Revival, was basically the reissue of a previous demo tape, now released on CD in a limited slimcase version by Vic Records. The material had been recorded a year prior, in the summer of 1992. At the time, this must have been quite a peculiar release. While the cover art is vague enough to have suited several different sub-genres of Metal, the overall aesthetics would seem to indicate that this was meant to have some relation to the Black Metal scene, which was growing in popularity throughout the region. There is a pentagram in the logo, the band members have pseudonyms (Lord Seth and Blackheim), and they are photographed wearing corpse paint. Even the song titles seemed to fall in line with this manner of presentation, and it all comes off as very odd. Of course, it is all merely a minor curiosity now. However, at the time of its release, this E.P. must have confused some people. Despite this misrepresentation, this isn't a bad release of Paradise Lost-influenced Doom/Death.

It opens with the brief intro, "Midwinter Gates (prologue)". The acoustic guitar and keyboard effects (handled by producer, Dan Swanö) do well to set a somber tone.

"Without God" is the first proper song. The mid-paced doom riffs are very reminiscent of Gothic-era Paradise Lost. There's also a bit of keyboards, which are louder than they need to be. This was corrected on the version that was recorded for the full-length. There is a hopeless feeling running through this, which would have been accentuated even more had the band slowed the song down a bit or done away with the more upbeat sections. This was always one of the drawbacks of early Katatonia, as the feeling wasn't always consistent. It may have been for the purpose of showing contrast between the two and making the more down-tempo riffs stand out that much more, but the execution of this idea was flawed. All in all, the song is memorable and possesses some nice riffs, but it leaves something to be desired regarding the oppressive feeling of doom that should have been the primary focus.

The next song is "Palace of Frost", and the influence of The Cure is quite evident in the first riff. It works well to create a sorrowful atmosphere, which is promptly interrupted by the riffs that follow. They're not bad, but they have no real feeling either way. Near the middle, another doom-laden riff appear, accompanied by a small touch of keyboards. There's a brief transitional riff that leads into a much more hopeless melody. Unfortunately, these moments are all too ephemeral. Where the band truly shines are the moments of despondency and utter despair. Instead of capitalizing on this, they are too quick to jump from one riff to another, losing the overall cohesion in the feeling of the song.

"The Northern Silence" is another track that could have added to the mistaken thought that this might be some Black Metal release, based on the title. A slow, depressive riff begins the song, before things speed up. The bass is loud in the mix, needlessly so. Again, the song goes from something with the potential to be dark and gloomy and morphs into something rather pointless. There is a dreary section where Lord Seth's raspy, near-Black Metal, vocals have a nice contrast with the clean singing of Dan Swanö. Unfortunately, the song is too brief and the actual doom element is not the dominant theme.

The E.P. ends with an outro, "Crimson Tears (epilogue)". This is a decent way to end the release, similar to the way it began. Ultimately, it doesn't add a great deal to the proceedings.

Jhva Elohim Meth... the Revival is a strange release, for a number of reasons. It has potential and is enjoyable. However, it lacks focus in several key areas. The aesthetics of their presentation are reaching for a Black Metal audience, for some reason. The music has its moments, but fails to make the most of the true moments of darkness and misery found here. The rifs are passed over too quickly, in favour of others that are infinitely inferior and serve only to disrupt the flow. They would go on to learn from their mistakes and to come much closer to making brilliant Doom/Death Metal on Dance of December Souls, though the same faults are found on that release as well, only somewhat contained.

Thorns - Trøndertun (1992)

Thorns was formed in 1989, by Blackthorn (Snorre Ruch). The original band name was Stigma Diabolicum, but was changed in 1990. The old demos released in the band's early history are some of the most influential recordings from the Norwegian Black Metal scene. Found on these, sometimes crude, demos are ideas that are as dark as they are brilliant. The Trøndertun demo, released in 1992, is no different. This tape was only distributed to a select few at the time, and thus remained a very rare and sought-after item in the years that followed.

From the opening moments of "Ærie Descent", a cold, uneasy feeling is conveyed. The riffs are dark and otherworldly, creating an eerie feeling and building a sense of dread. The pace is slow and creates an atmosphere of doom. The vocals are a little deeper than what one might expect, but are still done in an oldschool manner and nowhere near matching the guttural method of the Death Metal of that period. The tremolo melodies sound very familiar, as they seem to have been utilized for the Mayhem full-length (on which Blackthorn played guitar). Late in the song, there is some indecipherable chanting that adds to the darkness that is present here. For a cassette demo of this period, the sound is surprisingly good. Of course, the most important thing is the black aura that hangs over this. Though the word has been overused in the years that followed this, the music on this demo is the pure definition of grim.

"Funeral Marches to the Grave" picks up where the previous song leaves off and maintains the dreadful atmosphere. Early on, there are some eerie sounds that appear to be a guitar mimicking the moans of a damned soul, trapped beyond in a realm of suffering and pure torment. The vocals seems a little deeper on this one, but still work well with the sound. The highlights are the dismal tremolo melodies that weave in and out of the song, creating a feeling that is beyond description. It really is a shame that Snorre was imprisoned, as one has to wonder what brilliant music would have been produced had he been free to record albums during this period.

If ever you wish to hear a form of aural darkness similar to what is found on De Mysteriis Dom Sathanas, you are urged to seek out the early demos from Thorns. Sadly, upon his release from prison, Snorre opted to modernize his style of songwriting, so we'll never know what could have been. But it is all too clear, to surmise from the obscure material recorded in the early 90s ,that this band was on its way to something truly monumental.

Incarnator - Nordic Holocaust (1992)

Incarnator was a Black Metal band from Norway, that existed for a short time in the early 90s. Zypranius was responsible for all instruments and vocals, and did quite a good job of handling everything. I first became aware of this band, many years ago, reading an interview with Euronymous of Mayhem. After being mentioned alongside such bands as Darkthrone, Immortal, Burzum and Malfeitor, it seemed wise to assume that Incarnator must be of some quality, or else this would not be spoken in the same breath as the aforementioned bands. It took quite some time to locate someone with a cassette copy of this, but it was worth the search.

Released in 1992, the Nordic Holocaust demo contains only two songs. However, they are more than enough to satiate anyone with a thirst for the oldschool Black Metal sound. There is a very strong influence from early Bathory. "Part I" actually sounds nearly identical to "Born For Burning", from The Return... For some, this might be a turn off as certain listeners demand something entirely unique from bands. However, as a fan of old Bathory, it's always a welcome thing to discover more music in that vein. The riffs are quite familiar, but the similarities do not end there. The guitar sound is very close as are the vocals. Zypranius managed to get the same raspy and serpent-like sound that Quorthon possessed in the old days. The song is very powerful and there's enough of a variation from the original that influenced this to be worth listening to. As a matter of fact, you may have a difficult time getting this out of your player.

The second song, "Part II" (this guy wasn't terribly creative with the song titles, for whatever reason) is a bit slower and begins with the sound of cold winds blowing. The bass is audible enough to add a more menacing feel to the music. This song appears to have some Celtic Frost influence, mixed in, but it's not terribly overt. The cold winds continue to blow as the song progresses, and the pace picks up after the halfway point.

"We burn their churches
Set the skies ablaze"

Nordic Holocaust is a very good demo of oldschool, filthy Black Metal that sounds like it could have been released in 1985. For anyone with an interest in this style, this is highly recommended. It's nothing revolutionary, but it's a solid addition to the legacy of the ancient ones.

Ancient Wisdom - For Snow Covered the Northland (1996)

For Snow Covered the Northland is the first full-length album from the Swedish Black Metal band Ancient Wisdom. Previously known as Pain and then as Ancient, this band was formed in 1992 by Marcus Norman. The original line-up also included Fredrik Jakobsson, of Throne of Ahaz. After a couple demos, the band entered Garageland Studio in December 1994, to record their debut album. There were some technical issues with the recording, but it was finally released in 1996.

The album begins with "A Hymn to the Northern Empire", which sets the stage for what is to come. This intro starts with the mournful howling of wolves, soon joined by a sombre piano and tortured vocals. The feeling is very dark and a sense of dread falls over the listener.

"In the Land of the Crimson Moon" starts out with tormented screams and a melancholy guitar riff. This is slow-paced and possesses almost a Doom-like quality. There are some keyboards, yet they seem to fit in well with what's going on. The melodies become darker and more miserable as the song progresses. The vocals are very anguished and add well to the gloomy vibe of the song. This isn't terribly far removed from some of the stuff that Throne of Ahaz was doing, just a little more slow and melodic. Very briefly, there are some clean vocals, but this is never the focal point. The song slowly fades out, as a new keyboard melody joins the affair to accentuate the main riff.

The next song is "They Gather Where Snow Falls Forever". It opens with another mid-paced riff that is joined by a sorrowful lead solo and more agonized screams. After the first verse, the pace picks up a little, but not too fast. It almost feels like a cross between Throne of Ahaz and early Bethlehem. By the middle, there's a nice solo that lends some epic feeling to the song, followed by some utilization of classical guitar. The main riffs returns for a couple minutes, then gives way to keyboards and more clean guitars, joined by the miserable vocals. This is very atmospheric and works well to create a cold and dismal feeling.

"Through Rivers of the Eternal Blackness" follows this, possessing a faster pace and the first real use of tremolo riffs on the album, though used only to accentuate the main power chords. This icy effect is only temporary, but gives way to a very nice lead solo that is introspective and though-provoking. Lyrically, it's quite similar to early Immortal, though the overall tone is far more depressive. The feeling is somewhat reminiscent of the more bleak moments from the first Ophthalamia album. Perhaps, that results from the doom vibe that is infused into the sound. This is best described as majestic and epic, while being dismal and somewhat painful to hear. In the latter half of the song, there's one particular solo that feels as if it is cutting right through you, pulling your empty heart out of your chest and utterly annihilating it. You are left hollow and useless, with blades of ice falling from the sky and piercing you. The sound is quite familiar. Then it becomes clear that this final riff was stolen. It was lifted directly from the ending of Metallica's "Fade To Black". The band loses points for this thievery, but it still works well within this context.

"At this place I have always longed to be
To enter the dead, I have crossed the endless river"

This hymn of mourning is succeeded by "The Journey of the Ancients". The atmosphere of the previous song carries over into this one, as it begins with a slow and hopeless riff and more anguished vocals to fill your mind with thoughts of dread and despair. The pace picks up a bit, soon joined by another haunting solo. It's fairly minimalist, but effective. That could very well describe the song as a whole; it's somewhat bare and simplistic, almost lulling you into sort of a trance.

"As Snow Covers the Northland" is an instrumental that features more clean guitars, creating an eerie feeling that soon turns quite despondent. It's rather brief, but the effect if haunting and gives you yet another push toward the edge of despair.

Funeral bells chime in the cold northern breeze, signaling the beginning of "No Tears At His Funeral", which soon unleashes yet another mid-paced riff of sorrow and desolation. There is some variation in the pace, and the riffs become more and more grim and hopeless as the song progresses. The strained vocals only add to this. The emptiness is all-consuming, and you are being pulled down by emaciated hands that stretch out from beneath the surface. The black grave beckons...

"Forest of Summoned Spirits" starts out with a rather mid-paced riff, though the drumming gives some speed to the opening moments. Soon enough, the open-arpeggio riffs are joined by tormented screams and some keyboards. The tension is slowly building and the shadows move ever closer. Once again, the solo work adds much life to the music, so to speak. It's difficult to say such a thing, given the dreary feeling possessed by this album.

The next song is the longest one on the album, clocking in at over eight minutes. "A Raven's Reflection of the Ancient Northland" feels like a gravestone being dropped on your chest. It is slow, dreary and utterly desolate. The riffs are mournful and recall to mind sorrowful memories from the cold dark past. There is a brief section where things speed up a little, but this is only to add some sense of dynamics to the song, as it soon returns to the slow and plodding riff which strangles the hope out of your useless body. This is followed by an exceptionally hypnotic melody that is lifeless and cold, imbuing the listener with a true sense of nothingness. It's almost as if a vacuum exists within your chest and the pain is unreal, but soon a fleeting solo passes through and fills you with yet more distress. As the song slowly fades to oblivion, so too any remaining hope that you had foolishly held onto.

"The Serpent's Sleep Is Not Eternal" is another instrumental piece, consisting of clean guitars and thunder in the background. The vibe is somewhat peaceful, in the sense that you can now feel the end is soon drawing near and the suffering of a lifetime is soon to pass.

The next song sustains the feeling of doom and misery. "At the Other Side" begins with more mid-paced riffs, with the occasional section of increased speed. It's slightly reminiscent of the first song from Bethlehem's debut album, during certain moments. There are some riffs that don't seem to fit in, around the middle of the song. Thankfully, the song transitions to something else though the atmosphere that was crafted with the previous songs seems to be lacking, somewhat.

"The Sleep Within" is the final song, and starts out with a relatively heavy mid-paced riff, sounding almost like something from the first Throne of Ahaz record. However, there is a bit of a Death Metal feeling to some of the riffs. Perhaps the album should have ended with the last instrumental. The sound is mid-paced and filled with doom, but there's less of the cold sorrow that permeated the rest. The song ends with more appropriate riffs, conveying a sense of doom through a style borrowed from early Black Sabbath.

For Snow Covered the Northland is an ambitious work, containing nearly 60 minutes of music. It can be described as atmospheric Black Metal or even as some Doom hybrid; maybe even falling into the category of Dark Metal. Really, none of these labels is necessary. What you'll find here is something absolutely miserable and yet beautiful in its own dark way. It's strange that this album seems to be so unknown. Seek this out, if at all possible.