Archive for Bathory

Apocalypse – Si Vis Pacem, Para Bellum

Posted in Uncategorized with tags , on 10th March 2019 by izaforestspirit

Apocalypse
Si Vis Pacem, Para Bellum
Released December 2018 (original version) / January 2019 (re-press)
Epic Black Metal
Self-Released

Apocalypse - Si Vis Pacem, Para Bellum

‘Si Vis Pacem, Para Bellum’ is the debut album from the Italian, one-man black metal project Apocalypse. It was originally set up in 2015 as a full band playing power metal but the line-up did not last too long. After numerous line-up changes and rehearsals the founding member, multi-instrumentalist Erymanthon, made a decision to continue Apocalypse as a solo project drawing inspiration from black metal – particularly Bathory.

It’s pretty hard to miss the Bathory influence on this album. Starting with the cover art which looks remarkably similar to that of Bathory’s ‘Blood Fire Death’ album. Even the band name is written in the same font as Bathory. Also Erymanthon adapts a similar vocal style to Quorthon’s. The music itself is pretty much what I expected it to be from the description. I am not too comfortable using the term “epic black metal”; instead I would class this as atmospheric black metal with hints of thrash metal in guitars. There is an ongoing theme of war and battle scenes (as you would expect from the title) but there are no direct references to Vikings or Norse mythology. The pace varies depending on the song with the slowest being Chant of Glory Eternal which features an acoustic guitar and ballad-style clear vocals.

Soldiers of Rome has a definite thrash metal tinge to it due to the guitar work. It starts off slow with some acoustic guitar in the intro, then it gradually builds up the pace with some thrashing riffs and a few groove parts midway through the song. It reminded me of Bathory’s ‘Shores in Flames’. Erymanthon has a good vocal range and he seems to be fairly comfortable performing both the harsh black metal shouts and the clear vocals.

In summary ‘Si Vis Pacem, Para Bellum’ is clearly a labour of love created in admiration and with the intention of paying homage to Bathory. In that Apocalypse has definitely succeeded. This album feels like a continuation of what Quorthon started.

4/5

Iza Raittila

Lonewolf – The Fourth and Final Horseman

Posted in Review with tags , , , , , , , , , , , on 1st July 2013 by Hannah

Lonewolf
The Fourth and Final Horseman
Released: July 2013
Power Metal
Released via Napalm Records


The Fourth and Final Horseman is a valiant effort from French power metal powerhouses Lonewolf. At times reminiscent of other fully fledged champions of the genre like Sabaton, or indeed legends such as Manowar or Blind Guardian, they also promise variety and versatility with tinges of Children of Bodom, Wintersun and even the late, great Bathory. However, this variety never fully manifests, and it’s something that lets the band down here.

Don’t get me wrong, in the long run, I think TFAFH is a cracker of an album. Jens Börner’s often criticised vocal style actually works in their favour, in my opinion; his voice is intensely gravelly, very throaty and I can understand why it puts people off, but I think it elevates their sound beyond the normally ultra-slick and squeaky clean production of most power metal bands and adds a heavy, gritty edge to their music. Of course there is a major Running Wild influence throughout but Lonewolf get too much flack for this and I think it’s time we accepted that, and moved on!

There are some fantastic tracks on offer here. Opener and title track ‘The Fourth and Final Horseman’ is a strong start, with a simple, repetitive and infernally catchy chorus that will get stuck in your head for the rest of the day- a formula Lonewolf tend to stick to throughout the rest of the album! Here, Börner and guitarist Alex Hilbert definitely show off their virtuoso capabilities with spiralling guitar harmonies; again, a formula they will stick to. Most of the time, this faithful adherence to this tried-and-tested method of song writing doesn’t detract from their sound, and I am tempted to say if something works, then by all means go for it! It works well in tracks ‘Hellride’ and ‘Time for War’, for example, but leaves ‘Throne of Skulls’, ‘The Brotherhood of Wolves’ and ‘Guardian Angel’ quite uninspiring.

Where TFAFH reaches its most impressive heights for me is in the tracks that promise echoes of something more; those hints of variety that I mentioned previously. ‘The Poison of Mankind’, for example, starts very strong with an almost cinematic, choral tinged opener that slowly builds into a stomping tune that eventually reverts to the usual Lonewolf formula, but still maintains that atmosphere created by the start of the track. A similar effect is achieved in ‘Dragonriders’, with its almost Celtic, folk-tinged melodies and in album closer ‘Destiny’, in which a slow, almost acoustic feeling promises a brooding and atmospheric closer before it once again falls into simply another stomping, energetic power metal track.

Don’t get me wrong; their formula works, and I don’t think any of the songs on this album are bad; on the contrary, they are impressively energetic, and good all-round metal songs with more than a tinge of the retro. I just wish they had the balls to stick with the slower, more melodic and quieter elements sometimes! This is why the standout track for me, by far, is the only one in which they manage to maintain that epic, melodic atmosphere throughout, and that is in the Bathory-esque ‘Another Star Means Another Death’. Change the vocals and it wouldn’t sound that out of place on Hammerheart or Blood Fire Death. It begins with a beautiful, brooding, slow burning melody that quickly builds into heaviness but manages to keep that brooding atmosphere bubbling throughout.

Overall, there is some fantastic guitar work going on throughout this album, and I enjoyed most of it. However, I can’t help but think that Lonewolf would silence their critics if they only managed to shake things up a bit, and show off the versatility that is so blatantly hiding under the surface. Having said that, I do think that this is a good album and a must for any fan of power metal, and I even think that this would be a good choice for those that don’t usually dabble in the genre. A good effort; I just want to see more variety on the next album.

3/5

Hannah O’Flanagan

 

Interview with NettleCarrier

Posted in Interview with tags , , , , , on 26th January 2013 by hammersmashedlauren

After releasing their self titled album in September of 2012, NettleCarrier have grown a small following in Europe and are the epitome of traditional black metal. I got the chance to interview the band via e-mail in which they discuss their influences on their music, how the band was formed, and how they enjoy hiking in the Norwegian mountains.

How did you come up with the name NettleCarrier?

Our first drummer came up with the name so I guess you would have to ask him. The meaning being a spreader of death suits us and fits the music

How did NettleCarrier form?
Me and Mannevond formed the band in 2004 when I moved to Oslo. We had been talking about playing together for a long time and me moving just kick started the process. At that time I also played in Ljå, but after I left LJå and started Djevel I had more time to focus on Nettlecarrier as well. We had a desire to do something different from our other bands, but obviously it ended up pitch black in the end anyway.

If you were to describe NettleCarrier in one word, what word would it be and why?
Sinister. Because we are.

What bands influence your music the most?
Hmm, In NettleCarrier it is mostly band from the 80`s like Bathory and Hellhammer, but also stuff like Aura Noir etc.

Do you have any other hobbies when you aren’t making music?
Hiking in the Norwegian mountains.

What are your thoughts on the current metal scene?
I am a very big music fan, and I like almost all genres, but I can`t keep track of all that is happening anymore. I have noticed that the underground has started to move again so that’s good. On the other hand I really hate the term “Extreme metal”. That’s s just like a big garbage can filled with lame bands.

What are some upcoming shows/touring that you plan on doing?

We played at Bunker 2012 in Oslo in august and we will play Bunker again this year. We are not a live-band, so one concert every year is far too much already.

Who would you like to tour with?
Since we would never go on a tour I would have to say no one.

Anything you would like to say to your fans?
Keep supporting the underground and stay away from all false; ANTI “king ov hell”

 

Interview with V’gandr [Helheim]

Posted in Interview with tags , , , , , , , on 15th November 2012 by Nico Davidson

Helheim have been a lasting and destructive force on the Norwegian metal scene, while not achieving the same amount of commercial success as other black metal acts from Norway such as Dimmu Borgir or the infamy achieved by Varg Vikernes, the band have continued their reign of Norse-influenced terror in their own way. Regarded as pioneers of the Norwegian Viking Metal scene, Helheim have been apart of the scene for 20 years and with the release of Heiðindómr ok mótgangr last year, the band show no signs of slowing up.

Nico: Helheim is the abode of the Norse deity Hel, daughter of Loki. What inspired you to adopt this as the band’s name?

V’gandr: We adopted the name back in 92 after numerous of other names. We wanted to have a Norse approach to our lyrics where we had focus on the darker and more sinister parts of the Norse mythology and thus we chose Helheim as our name.

N: Heiðindómr ok mótgangr is the band’s latest album, what are the main lyrical concepts behind the album?

V: The main focus are circled around the four viten & mot parts which are based on the words of the wise (Odin) and his håvamål. Other than that the lyrics deal with human nature and its lacking of truthfulness towards the pagan. It’s all about longing as well as restrained hate. Heathendom is resistance and that’s what we’re all about.

N: What would you say are your favourite tracks from Heiðindómr ok mótgangr and why?

V: I’m proud of the whole album and every song got its moments, but the opening track kind of sets the mood and standard, so I really like that one.

N: Helheim have been a dominating force in both the Norwegian metal scene and the international metal scene. What do you feel has been the key to the band’s long-lasting career?

V: A dominating force? That’s the first time I’ve heard that, but thanks, hehe. I’ve always felt a bit aside the scene as we’ve never strived for fame or acknowledgment, but rather being truthful towards ourselves. Well, we’re a little family now and none of us are ready to leave it just yet. We have no recipe to how, we just have been around for 20 years and we have more to say.

N: Even though Heiðindómr ok mótgangr was released last year, do you have any plans for a new release?

V: Oh yes. All the material for our next release is ready and we’ll record it next year. Beware!

N: As we’re nearing the end of 2012, does the band have any plans for 2013? Providing the world doesn’t end on 21st December.

V: Release a new album and continue playing live. No more, no less.

N: What song do you feel defines Helheim as a whole?

V: Hmmm, a hard one. I can’t only pick one actually. There’s a few tracks that kind of adds up Helheim and that is: Jormundgand, Jernskogen, Dualitet Og Ulver and maybe Åsgards Fall 2.

N: When it comes to writing new material, where does the band draw inspiration from? And how does songwriting happen for Helheim?

V: We are our own inspiration believe it or not, but for Åsgards Fall MCD we were directly inspired by Bathory. Myself and H’grimnir creates music pretty much the same way we did 20 years ago and that is with and none-amplified electric guitar, hehe. And so the writing begins. Inspiration come from the inside and one song or idea can lead to another.

N: If you could replace the soundtrack to any film/movie with your own music, which one would it be and why?

V: That movie haven’t been made yet.

N: How would you describe your music to new listeners?

V: Passionate, serious, dark and beautiful. A view into the Norse.

N: As Helheim have been around for 20 years, you’ll obviously have a wealth of experience and wisdom. Is there any that you’d like to pass on to the new bands that emerging on the scene?

V: Nah, not really. Bands should do what the fuck they think is right for themselves. We learned the business the hard way and got nothing for free and I’m glad it was like that. It made us rise up and keep on going and learning from our mistakes. I think this is the right way for most bands to do it as then you see who got it and who’s not. Well, that was an advise after all…more or less. Hohohooo!

N: If you could be any hero or deity from Norse mythology, which one would it be and why?

V: I really can’t answer such a question as it wouldn’t make any sense. I never look to heroes or deities or gods or whatever. That’s what we’re trying to say in Helheim, you know. The gods are the tools of the trade.

N: Is there anything you’d like to say to our readers?

V: As I’ve said before, I say again; heathendom IS resistance. Remember that kids, now go eat a kebab.

For further news and updates about Helheim:

http://helheim.com/
https://www.facebook.com/helheimnorway
http://www.myspace.com/helheimnorway

 

Aeon premier new track exclusively on MetalSucks

Posted in News with tags , , , , , , , on 13th November 2012 by Nico Davidson

Today MetalSucks offers up an exclusive premiere of The Glowing Hate, the latest single of iniquity from Swedish death metal unit, Aeon. The track comes off the band’s forthcoming new full-length, Aeons Black, scheduled to drop this week Friday!

Comments guitarist Daniel Dlimi of the tune: “My goal with ‘The Glowing Hate’ was to write a really diverse song containing all sorts of elements and influences. Personally, I think it turned out great and it’s also the song that I am most satisfied with of the ones I wrote for the album. I also think [vocalist] Tommy [Dahlstöm] managed to write really great lyrics and awesome vocal patterns for it, and as usual it’s all about our everlasting hate against religion. The spoken parts at the end were something that Tommy and I came up with over a piss-warm beer in the studio after we were done with the main vocals of the song. It sounded cool so we decided to keep it.”

Get down with The Glowing Hate here.

Already crowned, “one of the best death metal albums of 2012,” by Revolver Magazine and, “a masterpiece of goddamned death metal,” by The Metal Observer, Aeons Black is slated for release on November 16, 2012 through Metal Blade Records. The meticulously executed slab of sacrilegious sickness was recorded at Empire Studio in Östersund, Sweden, engineered, mixed and mastered by Ronnie Björnström at Garageland Studios and features striking cover art by Kristian “Necrolord” Wåhlin (Bathory, At The Gates, Dissection, Emperor, et al).

Check out the title track, in-studio video footage and pre-order info here.

AEON:
Tommy Dahlstöm ˆ Vocals
Zeb Nilsson ˆ Guitar
Daniel Dlimi ˆ Guitar
Arttu Mallki ˆ Drums
Marcus Edvardsson – Bass

Aeon issue new studio update

Posted in News with tags , , , , , , on 7th November 2012 by Nico Davidson

Today, the second in a series of studio clips from Aeon‘s blazing Aeons Black recording session has been posted to the band’s official landing page, which can be found here. Sneak a peek at drummer Arttu Mallki punishing his kit for what would become the gargantuan Aeons Black full-length.

Already called “one of the best death metal albums of 2012” in a 4/5 review from Revolver Magazine, Aeons Black is set for release in North America on November 20, 2012 through Metal Blade Records. Aeons Black was recorded at Empire Studio in Östersund, Sweden, engineered, mixed and mastered by Ronnie Björnström at Garageland Studios and features striking cover art by Kristian “Necrolord” Wåhlin (Bathory, At The Gates, Dissection, Emperor, et al).

In related news, Metal Hammer Germany recently premiered the record’s opening track Still They Pray. If you missed it, feel the wrath here.

Aeons Black is the follow up to 2010’s Path of Fire, which About.com called “a juicy slab of prime-cut blasphemous death metal,” that, according to Ultimate-Guitar.com, “doesn’t let up in terms of insanely fast tempos, chugging guitars, and demonic vocals,” landing the album an 8 out of 10 score. Aeon is already confirmed for a UK tour which will take place in January 2013 with more dates for Europe and North America in the works. Prepare yourselves…

Aeon are:
Tommy Dahlstöm ˆ Vocals
Zeb Nilsson ˆ Guitar
Daniel Dlimi ˆ Guitar
Arttu Mallki ˆ Drums
Marcus Edvardsson ˆ Bass

Catch Aeon on tour in UK and Ireland in January 2013.

AEON + Dyscarnate + Ageless Oblivion

January 2013

16th   LONDON – Garage
17th   CARDIFF – Bogiez
18th   LIMERICK – Venue TBC
19th   DUBLIN – The Pint
20th   BELFAST – Voodoo
21st   LIVERPOOL – the Lomax
22nd   BRISTOL – The Croft
23rd   PLYMOUTH – White Rabbit

http://www.metalblade.com/aeon
http://www.aeon666.com
https://www.facebook.com/aeon666

 

Aeon release lyric video for Aeons Black

Posted in News with tags , , , , on 2nd October 2012 by Nico Davidson

Aeon, are pleased to unveil the Aeons Black lyric video on their official landing page. The tune comes off the band’s forthcoming new studio offering of the same name. Set to drop via Metal Blade Records on November 19, 2012, the mammoth 15-track Aeons Black was recorded at Empire Studio in Östersund, Sweden, engineered, mixed and mastered by Ronnie Björnström (Garageland Studios) and features cover art by Kristian “Necrolord” Wåhlin (Bathory, At The Gates, Dissection, Emperor et al).

Notes founding guitarist Zeb Nilsson of the album: “This is definitely our most varied albums to date; it has heavier songs yet it also has lots of fast blastbeats and double bass drumming. It’s groovier this time, which I think we lacked on our last album, Path of Fire, which was fast paced almost all the way through. And no, we have not gone softer in any aspect; it’s just easier to catch with all this grooviness. It’s metal right up your ass!

Catch AEON in the UK and Ireland in 2013

AEON + Dyscarnate + Ageless Oblivion

January 2013

16th         LONDON – Garage

17th         CARDIFF – Bogiez

18th         LIMERICK – Venue TBC

19th         DUBLIN – The Pint

20th         BELFAST – Voodoo

21st         LIVERPOOL – the Lomax

22nd         BRISTOL – The Croft

23rd         PLYMOUTH – White Rabbit

Aeon prepared to unleash the sonic severity of their fourth full-length

Posted in News with tags , , , , on 24th September 2012 by Nico Davidson

Aeon, are pleased to unveil the details of their fourth studio offering , Aeons Black. Set to drop via Metal Blade Records on November 22, 2012, the mammoth 15-track Aeons Black was recorded at Empire Studio in Östersund, Sweden, engineered, mixed and mastered by Ronnie Björnström (Garageland Studios) and features cover art by Kristian “Necrolord” Wåhlin (Bathory, At The Gates, Dissection, Emperor et al).

Notes founding guitarist Zeb Nilsson of their latest offering of irreverence: “This is definitely our most varied albums to date; it has heavier songs yet it also has lots of fast blastbeats and double bass drumming. It’s groovier this time, which I think we lacked on our last album, Path of Fire, which was fast paced almost all the way through. That and the amazing mix by Ronnie Björnström makes me feel pretty confident that this album will appeal to more people than our previous albums. And no, we have not gone softer in any aspect; it’s just easier to catch with all this grooviness. It’s metal right up your ass!”

The first single, title track Aeons Black, premieres today via the band’s official landing page. Comments guitarist Daniel Dlimi of the tune: “‘Aeons Black’ is the first song that I started to work on as we began writing for this album, and it’s also one of the very last to get finished. My goal was to create a somewhat heavier, odder, not-so-typical Aeon song. Once happy with the musical arrangement, I handed it over to [vocalist] Tommy [Dahlstöm] to let him write some lyrics and vocal patterns for it. He managed to get it even darker and more eerie. The lyrics are all about how everything living eventually must face the inevitable, which is death. There will be no savior, no heaven nor hell… just a pitch black, silent empty void.

Witness the sonic severity of Aeons Black as well as pre-order info here.

Aeons Black track listing:

01. Still They Pray
02. The Glowing Hate
03. The Voice of the Accuser
04. I Wish You Death
05. Garden of Sin
06. Neptune the Mystic
07. Nothing Left to Destroy
08. Passage to Hell
09. Aeons Black
10. Dead Means Dead
11. Sacrificed
12. Aftermath
13. Blessed By the Priest
14. Maze of the Damned
15. Die By My Hands

Catch Aeon live in the UK and Ireland in January:

Aeon + Dyscarnate + Ageless Oblivion

January 2013

16th LONDON – Garage

17th CARDIFF – Bogiez 18th

LIMERICK – Venue TBC

19th DUBLIN – The Pint

20th BELFAST – Voodoo

21st LIVERPOOL – the Lomax

22nd BRISTOL – The Croft

23rd PLYMOUTH – White Rabbit

AntropomorhiA unleash first single for streaming

Posted in News with tags , , , , , , , on 29th August 2012 by Nico Davidson

antropomorphia_cover

Dutch Death Metal Kings AntropomorphiA have just launched the landing page for their comeback album Evangelivm Nekromantia!
Head over here to stream the first single Psuchagogia, to check out the shocking artwork and the pre-order links. AntropomorphiA‘s Evangelivm Nekromantia will be released on October 22nd, 2012.

AntropomorphiA comments on Evangelivm Nekromantia: “We’ve been working on this conception for almost a year. Dedicated to composing a new sort of disturbing death metal darkness exceeding most of the one-dimensional releases you got to hear most of these days!”

AntropomorphiA is:
Ferry Damen (vocals, guitar)
Marc van Stiphout (bass)
Marco Stubbe (drums)

Evangelivm Nekromantia track listing:

1. Intro
2. Nekrophilian Mass
3. The Mourned and the Macabre
4. Debauchery in Putrefaction
5. Anointment by Sin
6. Fleisch
7. Impure Desecration
8. Psuchagogia
9. Nekrosophia
10. Evangelivm Nekromantia

AntropomorphiA is legion to Death Metal lunatics of the underground and will infect soon enough all worshippers of classical Death Metal bands such as BOLT THROWER, GRAVE and AUTOPSY as well as newer high class acts as BLOODBATH or HAIL OF BULLETS.
AntropomorphiA was created under the influence from bands such as Hellhammer/Celtic Frost, Infernäl Mäjesty and Bathory in a tiny town in Holland in 1989.

Over the years they got more and more brutal, released several demos and the Necromantic Love Songs MCD in 1993, but went on a hiatus in the late 90s since other bands became more important.
Fast forward 2009 when other projects moved into the background, AntropomorphiA got re-activated. The line-up is still the same, original members, F (vox/guitar), M (drums), S (bass) form the trinity that is AntropomorphiA till this day.

In early 2011 AntropomorphiA made their first live appearance since 2001 at the Neurotic Deathfest where they put up a convincing brutal show.

At the end of 2011 most of the new record was recorded and the band is taking their time to make sure this album is something more, something huge, resulting in Evangelivm Nekromantia – an album consisting of nine tracks, divided into three chapters of each three songs. Lyrically driven by nekrophilae, murder, necromancy and necrolesbian lust. Mastered at Necromorbus Studios by Tore Stjerna.

Rumahoy–Yarr Demo

Posted in Review with tags , , , , , , on 27th August 2012 by Nico Davidson

Rumahoy
Yarr Demo
Released: 15th August
Trve Scottish Pirate Metal/Heritagecore
Self-Released

Rumahoy - Yarr Demo 2012 Cover

Hailing from the apparent ancient fishing village Auchtermuchty (which is shown as being inland on Google Maps), come Scotland’s finest (and probably only) heritagecore outfit Rumahoy. Dubbing themselves as the first and original Scottish pirate metal band, the quartet formed in 2010 and released a song entitled Blackbeard’s Mighty Treasure which when down well in Scotland’s underground metals scene, as I’m told. With very little information about the floating around on the seven seas of the internet, I couldn’t help but think this was some sort of elaborate hoax but the demo was passed onto me by a trusted contact and the demo does indeed contain four genuine, if somewhat, tongue in cheek tracks.

Oceans of Treasures begins with the alluring sound of the tides coming back and forth before a soothing use of acoustic guitars and drums sail onwards before the track takes a turn down the heavier tides of the track. The riffs are genuinely and intelligently performed while the vocals (and lyrics) seem to bring about the tongue-in-cheek sound, mixing cheesily deep clean vocals with screams. The use of folk instrumentation sallies forth a folky and pirate sound, making it almost Celtic.

Digging For Rum rushes in with a strong thrash sound, which is soon found sailing alongside a more folk orientated sound however the clean, deep vocals really do put me off from wanting to listen to this track again. Questing Upon the High Seas makes up for the previous track, to an extent, bring some really epic passages and poignant lyrics though the vocals are pretty much like marmite. The samples (which I’m assuming are taken from different pirate films) really add a unique sound to the song. The keyboards add some truly dark sounding voyages to the song, especially when the harsher vocals make a proper appearance after a sample taken from Pirates of the Caribbean.

The demo ends with the black metalesque piece that is Ahoy, Wenches! To be honest, I expected it sound more folky and like a drinking song but the dark, almost evil screams of the guitars work well. The vocals ring in a similar vein to early 90s Bathory, adding a slight but distinct epic part to the track.

I’m really in two minds about this release; the overall musicianship screams out with a serious metal vibe while the vocals and lyrics make it almost… Like a joke. If you’re not too fussed about lyrics that are bursting with cheese then Yarr Demo is definitely something to get your hands on to place in your treasure trove of metal. The release is enjoyable enough though it is let down in areas by the vocals.

3/5

Nico Davidson

FORTID–Voluspa Part III: Fall of the Ages

Posted in Review with tags , , , on 9th June 2012 by Nico Davidson

Fortid
Voluspa Part III: Fall of the Ages
Released on 26th March 2010
Folk/Viking Metal

Released via Schwarzdorn Productions

Fortid were formed in Iceland a decade ago, as the solo project of Einar Thorberg, with the main purpose of putting the Voluspa, one of the most famous pieces from the Poetic Edda, into musical form. Fall of the Ages is the final part of the musical trilogy that is Voluspa.

The sobering sound of Ancient Halls starts the album eerily with a combination of synths, guitars and the sound of waves crashing on the shore. The sound of ravens cawing adds a very grim, archaic feel to the atmosphere that is emitted from the music. Of course the song isn’t all slow as it takes a change in pace towards the end, which also alters the atmosphere of the track. The second track, Ragnarok Army From The East, has a gloomy intro before turning into a force of black metal styled riffs and overwhelming drum patterns. The vocals are raw, raspy and callous, sounding similar to the vocal style of Shagrath (Dimmu Borgir), only not as refined, which I find to be a good thing for the track. The use of more laid back riffs with atmospheric choir sections adds a certain distinct feeling to the song, giving it that tragic edge. The rest o the track is full of horde-like aggression and a subtle use of cleaner vocals that do work well with the riffs. The track does end with the aforementioned laid back riffs and choirs, however which leads brilliantly into the destructive stylings of the third track, Fall of the Ages, which is also the title track. There is a strong presence of black metal influences throughout the track, with sly hints of Bathory here and there.

Equilibrium Reclaimed differs from the previous tracks due to it’s more grand, majestic yet partially sinister sound that is emphasised by the use of clean vocals and death metal styled growls. The synth section, almost halfway through, brings a very aphotic sound to the track before proceeding back into murky yet epic sounds that preceded it. The acoustic stylings of New Dawn follows next, creating a dense atmosphere of sombre feelings, something that is added to by the strong use of clean vocals and synths. Fortunately for fans of the heavier side of music, there are some slight uses of heavier guitars, though they’re partially drown out by the other instrumentation and vocals. Heltekinn blasts through with a very noticeable august power metal sound, which is a surprise, especially when it’s combined with a heavy use of black metal screams. The synth sections make the song feel and sound more dramatic. Some of the riffs on his track are noticeably more melodic than any of the riffs on the rest of the album. The album comes to its end with The Future, a ten minute song that has a fierce sound with a touch of hopelessness thrown in for good measure. In a sense, the song is virtually a doom metal epic, but as whether Einar intended it be so is a completely different matter.

I’ve read the Poetic Edda a fair few times, especially Voluspa and while I’ve never envisioned it to be set to a mix of black and Viking metal, Voluspa Part III does do the poem justice. There are some parts that could be worked upon, such as the sound quality of some of the vocal parts and certain instruments being drown out but all in all, Voluspa Part III: Fall of the Ages is a damned good album full of Vikingtastic riffs and vocals harsher than a jotun’s wrath.

4.7/5

Nico Davidson