Sargeist - Dead Ravens Memory (2006)

Eight months after the release of their sophomore effort, Disciple of the Heinous Path, Sargeist broke their silence with a split album with Bahimiron. This review will focus solely on the Sargeist material, as the other band is of no consequence. Recorded at the Boneyard during the previous spring, "Dead Ravens Memory" was finally released by Obscure Abhorrence Productions, in May 2006.

This song is very much in the same vein as the material from the last full-length, and would have fit in with those songs, nicely. It maintains a fast pace throughout, though it does feature some variation in tempo. Torog's tormented voice compliments the mournful and haunting guitar riffs that bleed forth from Shatraug. Horns does a good job keeping the pace, without detracting from the rest. The production is similar to Disciple of the Heinous Path, though it retains an added sense of rawness that, likely, comes from not being properly mastered. Though this track is six minutes long, it simply is not enough to satiate the hunger of the band's loyal following. Even worse, it would be the last that anyone heard of Sargeist for two and a half years.

This is essential for any Sargeist fan, as "Dead Ravens Memory" is on par with most of the material that had been released, up to this point. Why the band bothers to do split albums with unworthy partners is beyond me. That said, ignore the other song and seek this out.

Horna - Sanojesi Äärelle (2008)

Released through Debemur Morti Produductions in September 2008, Sanojesi Äärelle witnessed Horna returning to their normal style, after the previous year's Bathory tribute had some listeners wondering if the band had made a permanent shift in their sound. Their seventh full-length album is quite an ambitious effort, containing nearly an hour and a half of music. One reason for the sheer length of this record was for Shatraug to clear up a lot of the material that had been written and waiting. This album is also notable for the fact that it features a full line-up, rather than the main core of Shatraug and Corvus, with whatever session musicians they could find.

The first disc is more straightforward, as "Muinaisten Alttarilta" displays. It bursts forth with hellish fury and a morbid feeling that permeates the melodies. The opening tremolo riffs carve through you, making way for the pestilence that soon spreads, courtesy of the slower riffs and the demented vocals spewing from Corvus. Aside from the two main themes, there is another mid-paced riff that has a more upbeat, almost folk-like, vibe and works well to contrast the darker atmosphere conveyed by the rest.

"Verilehto" features riffs that are a bit more primitive, though with added darkness thanks to the presence of open chords that come at the end of each repetition. These are used throughout the song with increasing frequency as it progresses, helping to create a sombre tone that imbues the listener with a sense of unease.

The next song hearkens back to the band's earlier years, in a way. "Mustan Kirkkauden Sarastus" is fast-paced and features a good deal of tremolo riffs, mixed in with mid-paced sections that are not the most memorable. This is a solid track, but not one of the highlights.

"Katseet" possesses a more melancholic vibe, from the opening moments, as a mid-paced riff creeps from an old grave, bringing the stench of death and rot. The songwriting is rather simplistic and minimalist, while maintaining a decent amount of variation and song progression. The slower riffs are contrasted by fast tremolo-picked melodies that offers a Finnish take on a style made famous in Norway, nearly two decades earlier. Horna has done well at incorporating these elements into their music and creating their own identity, which is quite a feat considering the sheer number of bands out there. This song has kind of an epic feeling, thanks to the additional riffs that appear, later on.

"Askeesi" starts with another fast tremolo riff, though the pace slows down and the overall feeling becomes increasingly dark and morbid. While the slower sections seem to be where the band is most comfortable, Shatraug displays a lot of talent for writing the faster riffs. The raw sound of the recording is emphasized by the guitar tone and the overly strained vocal style that Corvus employs. If he had the ability to control his voice and to only scream with such intensity when the song called for it, he would better serve the band.

The title track explodes from the silence, in a manner similar to some of the other songs on here. It is fairly straightforward and maintains a fast pace, more or less. Of course, it also includes some of Horna's standard mid-paced riffs. By this point, it would be nice to have one track that just keeps up a furious tempo all the way through. Still, that might detract from the morose quality of the music, to some extent.

"Orjaroihu" starts out in a way that, somehow, reminds of the hideous atrocity known as Sudentaival. This song includes a lot of thrashy riffs, mixed in with sorrowful tremolo melodies. This combination is not the best, and the song would have been better with the thrash parts removed. It is natural, with a band working on such a massive album, that some track would not come out as they would have if more time had been allowed for each one.

The next song is "Risti Ja Ruoska", finally breaking from the formula and maintaining a consistent pace, bereft of the slower parts. The riffs are filled with tension and this feeling builds as it goes along, driving you forward to some unknown doom. Other melodies are infused, adding to the epic nature of the song, and dragging it deeper into the dark unknown. From the grating vocals to the harsh guitar riffs, the track appears to build in intensity, before an abrupt ending leaves you, once again, surrounded by nothingness.

"Wikinger" is a cover song, originally by the German band Pest. Oddly enough, Horna picked a song that sounds a lot like their own material. The songwriting is very similar in feeling and style, and even the vocal performance was in the same vein, being more over-the-top and intense. Perhaps, Shatraug thought is sounded enough like his own work and the fact that Saturnus was an original member of Pest was all that was needed to choose this.

This is followed by "Merkuriana", which is the longest track on disc one, clocking in at just over six minutes. Again, tremolo melodies are mixed with mid-paced riffs with some open-arpeggio chords arriving later in the song. This is one of the more memorable songs on the album, and also more miserable. This would have been a good way to end the record, and it seems that was the initial plan.

Disc two begins with "Liekki Ja Voima". One has to wonder whether or not these songs were intended for a separate release, as they are obviously from a different recording session. The production is not the same, and the length and style shifts as well. Perhaps, the second disc was meant for an E.P. or a split release. The first song is eleven minutes long, starting with a mournful tremolo riff that is dripping with utter misery. As this melody flows from the darkness, so to does the blood flow from the wounds that such hopelessness inflicts upon the listener. Somewhat similar to the title track from Äänia Yössä, the riffs are given ample time to draw you into the abyss of suffering and despair, raping your spirit and leaving you vulnerable to the assault to come. The production boasts a rather spectral essence, when compared to the previous songs, and the atmosphere is somewhat distant. Listening to this, one gets a sense of the peace gained by hanging from a noose, lifeless and cold with no remaining connection to the mortal world. The guitar melodies are brilliant and the dismal and nostalgic aura is unforgettable. The only weak point of this would have to be the vocal performance.

"Ruumisalttari" starts out with a riff that is sorrowful and kind of catchy at the same time. There is an introspective and nightmarish quality to this song, which is enshrouded in darkness unheard of on the first disc. While mostly mid-paced, the song includes faster sections that really help to spirit you away to a realm of everlasting shadows and unending pain. Just when it seems that you are nearing the end of your suffering, it becomes clear that you have but reached a deeper level of misery and that the anguish that you have heretofore known was only the beginning.

One of the most haunting and freezing cold riffs of the entire album is featured at the beginning of "Musta Rukous", which is another track that nearly reaches the eleven-minute mark. The faster riffs do well to build a sense of tension, carrying you up into the night sky, while the slower ones represent an unavoidable descent that delivers you to the depths of the shadowed abyss. The mournful riffs and tormented screams work well in conveying a gloomy and lachrymose atmosphere. All that has been lost shall remain so, never to be regained. The end has come, though the process is slow and agonizing, there is no turning back and you can only wait and suffer until the final moments. As the song nears its conclusion, the woeful melody slows down and howls out into the night, summoning the final darkness.

"Baphometin Siunaus" is the final track and a strong way to close out this collection. This one is a bit more catchy than the last one, yet still possesses the same dark essence. It is rather mid-paced, though the middle is considerably slower and delivers the final crushing blows to your spirit. By this point, you have been so utterly annihilated that your arms shall be outstretched, welcoming the end.

Sanojesi Äärelle is a great album, though it may be too much for one to digest in one sitting. It is recommended that the listener take a decent amount of time to really focus on all that is going on here, to fully appreciate it. Shatraug did well to clear up his musical ideas, and though the material here could have resulted in two separate albums, the two-disc concept was not a bad idea. This collection of songs encompasses the band's career and would be a good place for newcomers to start, as well as a worthy addition to the collection of any Black Metal fan.

Horna - Sotahuuto (2007)

Sotahuuto is not an ordinary album. The title is Finnish for "War Cry", and that is fairly appropriate given the nature of this L.P. As the liner notes state, the material was written in the spring of 2004, in tribute of Bathory. This was oddly timed, as Quorthon would pass from this realm a short time later. In general, gimmick albums should be avoided, but it is more acceptable considering Horna's prolific nature.

The quality of the material is decent enough. Of course, there are a good number of stolen Bathory riffs mixed in, as well as others that are greatly inspired by Quorthon's older works. It can get repetitive at times, since some of the ideas sound too similar. Both "Lähtölaukaus" and "Tuhontuoja" start out with riffs that are reminiscent of "Born for Burning", from The Return... Though the album features a lot of old school Black Metal riffs that hearken back to the 80s, Horna's distinctive style still bleeds through and even the melodies that come off as extremely plagiarized are only pieces of a larger framework. "Sodanjano", in particular, actually seems to break away from the tribute altogether, yet still fits in with the rest. Along with the different style of songwriting that dominates Sotahuuto, the length of the individual tracks is much shorter than the last few Horna albums, as a result.

As for the production, this album is even more raw and abrasive than its predecessors. Thankfully, the band recruited a real drummer this time around, so it all sounds much more natural than on Ääniä Yössä. The guitars are very thin and trebly, though are somewhat surpassed in the mix by the vocals. One major complaint with the band is the vocal style that Corvus utilizes, since he almost always sounds strained and as if he is pushing the limits, meaning that there is less variation and less opportunity to accentuate the atmosphere of the music. His voice gives the whole album a feeling of harshness that can be irritating, at times, especially being so prominent in the mix. While this may be what Shatraug had in mind, Horna would probably benefit from getting a new vocalist of for their current one to learn his craft a bit more.

Sotahuuto is a solid album of primitive, raw, ugly Black Metal with a lot of old school feeling. While it is a tribute to Bathory, it does not sound like a total clone of Quorthon's old sound (other than a handful of stolen riffs that are worked in), but definitely in the same vein. There is still enough of Horna's original sound present for this to be easily identified. Not essential, but a good dose of hellish music.

Horna - Ääniä Yössä (2006)

Ääniä Yössä is a concept album, dealing with the Black Death that ravaged Europe in the 14th century. Though it was released in September 2006, work began on this record as far back as 2004. Horna is an extremely productive band, at times, thanks to the overwhelming creativity of Shatraug (who also had time to release a handful of demos, splits and albums with his other band, Sargeist, during the same period). For whatever reason, he is joined only by Corvus on this, the band's fifth full-length. They had been using session drummers, but chose to program the drumming on this one, which hurts the record.

"Raiskattu saastaisessa valossa" begins with the sounds of disease-ridden rats, before picking up from where the most dismal moments of Envaatnags Eflos Solf Esgantaavne left off. The mid-paced riffs carry a feeling of lifelessness and the extremely raw vocals add to the overall harshness. The drum programming detracts from the atmosphere, a bit, not sounding nearly organic enough. After a couple of minutes, this no longer matters, as there is a section that features only bleak guitar melodies and horrible screams. The open-arpeggio riffs are reminiscent of Burzum, though the sound here is far less clear. The pace picks up a bit, near the middle, but the riff is not exactly complimentary to those that preceded it. These two alternate, a couple times, before the initial theme returns. All in all, not a bad start but the song runs a little long and struggles to maintain a consistent vibe, at certain points.

The next song hearkens back to Horna's early days and seems more in line with a release such as Hiidentorni. Unlike the rest of the tracks on here, "Noutajan kutsu " is rather short and does not attempt to create an epic feeling. A darker riff is introduced, after a minute or so, but it is ephemeral and the pace picks up rather quickly. This song feels kind of average and does not do a whole lot to contribute to the morbid atmosphere than one would assume that the band was going for.

"Mustan surman rukous" starts with a slower riff that possesses an eerie feeling. The guitar melodies that follow are not as impressive. The song sort of drags, with no real inspiration. There is nothing unpleasant or annoying about the track, just that it seems more suitable as background music rather than something to be focused on. Under close scrutiny, it fails to live up to the listener's expectations.

The fact that this album was recorded in two separate sessions becomes clear with the title track. "Ääniä Yössä" sounds completely different from the rest of the material, possessing a distant quality. The first riff is reminiscent of Darkthrone, and the drumming pattern is much faster to match this. Of course, the production is so weak that the song comes across like something heard in a dream. Some open chords are interspersed with the main tremolo melody, giving it an otherworldly atmosphere. Listening to this, you get the sense of falling into a dream that soon turns into a horrifying nightmare. All around you, visions of torture and suffering, as the dreadful notion creeps into your mind that this shall be your fate as well. Waves of misery and anguish pour over you, as you are soon swept away by a river of sorrow and doom. Those damned waters threaten to swallow you forever, as another melancholic tremolo riff accompanies tormented howls that echo within your being. With each new melody, the darkness becomes ever more impenetrable. A woeful strain rises from the utter blackness, woeful in character, extinguishing whatever hope that remains.Despite the obvious similarities with old Darkthrone riffs, the arrangement is well-done and the repetition is carried out in such a way that the introduction of each new piece means something and helps build to the final climatic melody.

Ääniä Yössä would be a rather disappointing release, if not for the 21-minute long title track. In a sense, this album is like Venom's At War With Satan, in that one lengthy song really dominates the album and serves as the centerpiece. Though it is strange for a full-length to feature such a noticeable difference in production, among the tracks, it actually works in this case. While it is not as solid, all the way through, this album is certainly worth hearing for the final track, alone.

Setherial - Lords of the Nightrealm (1998)

Lords of the Nightrealm is the sophomore effort from Sweden's masters of mimicry, Setherial. While their first record was clearly intended to carry on the style that Emperor utilized on In the Nightside Eclipse, the band set their sights a little closer to home, the second time around. Their new heroes seemed to be Dark Funeral. The abomination that resulted, in early 1998, was a pathetic tenth-rate copy of the material on The Secrets of the Black Arts, so bad that it made Vobiscum Satanas sound like a serious album.

The production is overdone, for a Black Metal release. Everything is clear and well-defined, with every generic riff coming through with remarkable clarity. It definitely sounds more polished than their last offering, though that one hardly boasted an underground production, in the first place. The riffs have absolutely no power and the drumming has an annoying 'clicky' quality. This album is oozing with the filth of modernity, from the horrible sound to the awful material.

Musically, this is terribly uninspiring. The members of Setherial are, obviously, capable musicians. On a practical level, there is no question regarding whether or not they can handle their instruments. The problem is that they are unable to think for themselves; i.e. all of their material is highly derivative of other bands, without a single shred of original thought added into the mix. When they were composing the songs that would become Nord, Emperor was rather popular. Following this, Dark Funeral had become a trendy band within the Black Metal scene, so they did their best to imitate them instead. Even worse, they were unable to do a convincing job. One has to wonder about the possibility of them obtaining an advance copy of Vobiscum Satanas, as this actually sounds more like a copy of that album than of Dark Funeral's debut L.P. This record is filled with double-bass drums that dominate the sound, weak and generic guitar riffs and comical vocals that try so hard to sound evil and diabolical, but come off as cheesy and cartoonish.

Lords of the Nightrealm is an absolute waste of time. Anyone that thinks this is the epitome of Black Metal must have just discovered the sub-genre within the past week or so. There is nothing on here that ranks above mediocre, at best, and the level of plagiarism is painful. Setherial is and always has been a joke. Avoid this at all costs.

Ancient - Svartalvheim (1994)

My first exposure to Ancient was by viewing the video for "Lilith's Embrace", from The Cainian Chronicle, a year or so after it had been released. Naturally, I was absolutely disgusted by the horrible garbage that I saw and heard, and thus Ancient was written off as yet another band of posers, polluting the Black Metal scene with female vocals, keyboards and other horrendous nonsense that was commonplace at the time. Some months later, I was surprised when a friend in Sweden sent me a tape that included "Trumps of an Archangel", from the band's debut album Svartalvheim. This gave me the impression that the band used to be good, though I was again disappointed when I heard the whole thing. Recorded in late 1993 and released in May 1994, this L.P. displays a different approach from their later works and demonstrates a more competent understanding Black Metal, though the result is not all that good.

After an eerie intro, the aforementioned track wastes no time in unleashing an assault of primitive-sounding Black Metal. The production is not as raw as one might expect, with the guitars sounding less sharp and more blunt. The riffs are certainly in the same vein as most of their Norwegian peers, featuring a good number of sombre tremolo melodies mixed in with more old-school influences. The vocals possess a grim feeling that is very common for the time period, and not entirely original.

"Huldradans" utilizes similar straightforward riffs, interspersed with acoustic bits and melodies of a more epic nature that expand the sound of the band and allow for a wider variety in the overall approach. The general vibe of the song is gloomy and the lead solo, near the end, adds a sorrowful quality as well. Ending with another acoustic passage, the song displays a decent understanding of composition and all of the various elements work together, quite well.

The next song is more memorable and is dominated by a mid-paced riff the hearkens back to Bathory's Under the Sign of the Black Mark. "The Call of the Absu Deep" is one of the standout tracks on the album, possessing a mournful vibe that somewhat drains the life out of you. The effect is limited, as the acoustic part interrupts the gloom but still fits into the song in an adequate manner.

"Det Glemte Riket" takes a while to build up, but features an atmosphere that is heavily influenced by old Bathory, much like the previous track. The bass is a little too prominent on this one, but it does not distract too much. The songwriting is a bit too ambitious for the band's abilities, leaving this one sounding like an inconsistent mess.

The gloom returns in the early moments of "Paa Evig Vandring", which is a very lengthy song that clocks in at over nine minutes. The keyboards kill whatever feeling the acoustic guitar is attempting to create, but the main riffs are, again, mid-paced and maintaining the same influences as the last couple songs. Later on, a funeral organ adds a sense of morbidity to the proceedings, but the music does little to build on this. A nice, high-speed riff is teased, but it is ephemeral. By this point, the album is rapidly losing momentum, which comes to a halt with the following track.

"Ved Trolltjern" is another experiment in atmospheric Black Metal, which is more of an interlude. This track is worthless and it is safe to say that the album is dead in the water, at this point.

Finally, it seems that the members of Ancient quit screwing around and get back to business on "Eerily Howling Winds". This gets back to the tremolo melodies, mixed in with some old school riffs, and a faster pace. Unfortunately, it is also joined by some horrible clean vocals that give it some kind of gothic feeling. This song tries to get things going again, but the inclusion of unnecessary elements ruins it.

"Likferd" is a solid track that starts with a brief intro before things pick up. The first couple of riffs are average, but a hypnotic riff emerges after a minute or so that also leads to an increased intensity in the drumming. This seems reminiscent of early Darkthrone, though not as well-executed. More tremolo riffs appear, later on, creating a mildly epic and sombre vibe, and continuing for the remainder of the track, allowing it to end on a high note.

Svartalvheim is a terribly inconsistent record. Ancient is quite competent in writing and playing standard Black Metal in the northern style, but their reach often exceeded their grasp and whatever ambitions that they had to achieve something more led to utter ruin and the failure of the album as a whole. Out of ten tracks, only four are of any worth, and even those are not extraordinary. If you find this in a discount bin (or for free), then it is worth checking out just for a handful of songs, but to invest any real time or energy into seeking this out would only be a waste.

Throne of Ahaz - On Twilight Enthroned (1996)

In the dark autumn of 1996, Throne of Ahaz launched yet another strike upon the mortal realm, bringing a bitter cold fury from the ancient northland and assaulting all in their path. This time, Beretorn and Taurtheim were joined by Vargher, of Ancient Wisdom, in the creation of their sophomore album, On Twilight Enthroned. The music was recorded in September of the previous year, and was written as a collaborative effort that included all of the members. The style found on Nifelheim is still in tact, though with some additional elements. The end result is another slab of Scandinavian Black Metal that, despite its obscurity, is far superior to several of the albums being released by their peers.

The first time I heard this album was not long after discovering the band, through their debut L.P. Of course, being quite blown away by that record, my only desire was to hear more of the same type of stuff. For whatever reason, On Twilight Enthroned seemed to be a disappointment after the first listen. The album then collected dust for quite some time, before I came to my senses and gave it another chance. Strangely, my later impression was that the record delivered exactly what the first one was missing, in the sense that it features more cold riffs and high-speed drumming than Nifelheim.

"Fenris" bursts forth with a furious wrath, with blistering cold tremolo riffs, intense drumming and hellish vocals all erupting at the same time, nearly overwhelming the listener and wasting no time in displaying a lethal sense of songwriting and musicianship. The initial flurry is followed by a nice old school riff and a drum pattern that compliments it, perfectly. There are slower riffs that add a layer of freezing darkness to the proceedings, gradually speeding up again. The final riff sounds reminiscent of early Emperor, thus maintaining a northern vibe throughout.

The relentless pace is carried on by "The Forlorn", featuring another frigid and mournful tremolo melody, carving through the listener's pathetic soul and opening a gateway for the gloomy open-arpeggio chords that follow. Vargher's style betrays a Burzum influence, which fits nicely with the rest of the material, adding yet another dimension. More primitive riffs join the chaos, similar to what was found on the band's first release, but soon displaced as the barrage of hellish riffs and morbid screams returns to lay waste to all that remains of your feeble being. Demonic thrash riffs are injected, late in the song, reminiscent of the title track from Dissection's second offering. The dynamic arrangement helps to create an epic atmosphere, going even farther than on their last outing.

"With Shadow Wings" starts with a sense of building tension, soon exploding into a maelstrom of pure Scandinavian Black Metal. The production for the album is a little more clear than the last one, not sounding as raw, yet certainly not polished. It actually still possesses a sense of rawness and even an abrasive nature not found on Nifelheim, but it just does not come off as primitive. There is also a bit of a difference in the recording of the vocals, perhaps a little extra reverb. More than anything else, the songwriting itself may be responsible, as the riffs are not as primitive and ugly, though that element is still present at times.

The title track features more dismal tremolo riffs, miserable vocals and slower sections that bleed forth a nocturnal feeling that suits the subject matter of the lyrics. The highlight of the song comes near the end, with a mournful guitar solo that adds even more gloom to the atmosphere, before an epic melody takes over. Worth noting is that while Vargher's contributions sound somewhat similar to his other band, it is still separate enough that the two are clearly unique entities and the material is not interchangeable at all.

"Where Veils of Grief are Dancing Slow" utilizes a bit of keyboards, which is one of the things that caused me to dismiss the album in the first place, but it is actually so subtle and minimal that one might even miss it, if not paying attention. The riffs alternate between the old school 80s riffs and the northern riffs that dominate much of the album. Beretorn and Vargher share vocal duties on this track, though their styles are not terribly different and might also go unnoticed. Some epic melodies emerge from the darkness, late in the song, before the tremolo riffs return to carry the song to its conclusion. The Darkthrone influence is still present, in such melodies, but worked into their own style much better than before.

The next song is "Let Blood Paint the Ground", which begins with a fast-paced riff that is bitter cold and displays an epic sense of misery. This is one of the better melodies on the whole album, sure to haunt your nightmares for some time. More old school rhythms are interspersed, with the main riff rising from the foggy graveyard, soon joined by vocals and percussion. More riffs appear, adding variation yet not interrupting the flow of the song.

The final original song is "Blackthorn Crown", which takes a different approach and seems to have some old Bathory influence. This is Beretorn's sole musical contribution to the record, and it is a good thing that it is placed at the end, since it would certainly have represented a disruption in the overall vibe of the album. While the riff is decent enough, the double bass drums are a bit annoying, though it is not as if they are very high in the mix anyway.

The album ends with a Black Metal version of "Black Sabbath", by the band of the same name. While it is interesting to see someone looking so far back in the past, to one of the earliest songs to possess a dark feeling (and in many respects, the beginning of Metal's darkside), this does not come close to matching the atmosphere of the original. Musically, it just is not as gloomy and foreboding and the vocal style does not compliment the material, in any way. It is not a bad song, but it fails to add anything to the album as a whole, and is actually its weakest point.

On Twilight Enthroned is a very solid album and a worthy follow-up to Nifelheim, maintaining a grim and cold northern sound. For what it lacks in rawness, it makes up for in speed and atmosphere. It is unknown as to why Throne of Ahaz is a band that has languished in obscurity while others of lesser quality went on to enjoy such lengthy careers. While many other Scandinavian Black Metal bands were beginning to experiment or to otherwise abandon their roots, Throne of Ahaz kept the black flame burning and it is a shame that they ceased to exist after this release.