In the first part of this article I introduced the Nidrosian black metal scene and reviewed, in detail, five bands. We learnt that the scene is heavily influenced by the so-called second wave of black metal, particularly the Norwegian bands of that era. However, the Nidrosian bands are no mere copies; rather these bands have distilled the essence of the second wave and intensified it, so though we do get low-fi productions, blistering tremolo-picked guitars, blast beats, and vocals which certainly have not become Death Metal-like, but instead, stick to the rasping, higher pitched vocals of the second wave, the Nidrosian sound is a furious progression of the second wave sound. Some of this is down to the Satanic approach which is vastly magnified in the Nidrosian scene, with most bands devoting their entire oeuvres to Satanic lyrics and iconography. Moreover, these bands when they play live, perform ‘rituals’ and are surrounded by Satanic paraphernalia. It goes without saying that the majority of EP and album covers displays the sigils of occult imagery.
Another connection between the two is that all the bands in both scenes use the same thirty to forty musicians meaning that the bands and albums see a constant interchange of the same musicians. Again, the Nidrosian scene takes this to the limit and some musicians in the scene have played in eight, nine, or even ten different bands. One would assume, therefore, that there is a similarity of sound between the bands, but like the second wave, the Nidrosian bands each have a unique sound, each contributing something fresh to the genre.
Whilst the second wave only remained ‘underground’ in the truest sense of the word for about six months, the Nidrosian scene remained largely unheard of until the death of Steingrim Torson Brissach in 2009. He was, in a similar way to Euronymous, very important and very much a main player in the scene and played in Castrum Doloris, Grenjar, Selvhat, Kaosritual, Miseria X, Slagmaur, One Tail, One Head, Unbeing, Jammerskrik, and Celestial Bloodshed – a veritable who’s-who of the Nidrosian scene! The ‘underground’ ethos of the scene is still present and some bands still only release taped versions of demos and EPs, and play live infrequently. Information on these
bands is near-on impossible to find and interviews with musicians seems to be kept at a minimum. Nevertheless, the world did become aware of the scene and a few bands have managed to cross-over into the more mainstream black metal world and some recorded material is easily available from Spotify, Bandcamp, YouTube, HMV, and even Amazon. Physical material is also available mainly from Van Records1 but some copies of EPs and albums are very rare and sell for three figures – check Discogs and be amazed!
This second part to the article will also focus on five bands in detail and they have been picked to highlight the very different approaches that the bands have to black metal, there are many shades of black. Thus, we have a couple of obscure bands, bands who have become well-known, and new bands who are continuing to carry the black flame of the Nidrosian scene. First up, Morkekunst.
Morkekunst
Time for a confession, this EP is the best 14 minutes of Nidrosian black metal that I have heard. More than just my favourite, whenever I think about the Nidrosian scene, this is the music I turn to. One EP, Mørkekunst (2004), two songs, 14 minutes, that’s it, but by Christ what marvellous stuff. there have been rumours abound that there is a demo tape doing the rounds somewhere, but I don’t think that’s true. So this is all we are left with and to my knowledge there isn’t anything else coming out some time soon. What a shame. Certainly everything about the band is strange. Morkekunst, translated as Dark Art, is comprised of two Norwegians and two Germans, those being Algar (ex-Skalder, ex-Klage) and Roac (ex-Skalder, ex-Kargvint). Azazil (Aka Kvitrim) (see part 1) and Unbeing (Aka Udeth) (see part 1) are stalwarts of the scene, and whilst we have met Azazil before and will do again, Unbeing is orientated in his other bands toward depressive and doom black metal. None of that here. This EP is a melodic,
barbaric, assault in keeping with the second wave.
Side one is Ondskapens Kraft, roughly translated into The Power of Evil, and it leaps straight away into a marvellous, Darkthrone-like riff and a pure second wave scream, the like of which we rarely hear nowadays. Indeed, it is the vocals which shine on this EP, pure Dead-like but with enough individuality to call it his own. Who actually does what on this EP is a mystery itself, and since all four musicians have sung lead vocals before it’s anyone’s guess who is singing on this. A breakdown of sorts gives us a faster tempo (blast beats) more screams and rasping vocals and a riff going into overdrive, before retuning to the main, mid-paced paced, albeit with a different riff. This riff drives the song and the vocals bounce around over and under it (if that makes sense). A spoken section accompanies this riff and then another tempo change (slightly slower) another glorious riff, and those screams – this is what black metal is all about. Hypnotic and punishing the riffs are unique and compelling, reminding me of a mixture between straight up second wave and the more dissonant French bands of the early 2000s. The vocals, however, are in a league of their own. With black metal vocals tending, nowadays to become more growly, aka death metal, it is refreshing to hear vocals based purely in black metal and unashamed of the fact. The song ends with a scream the like of which I have never heard before – pure class, pure black metal.
Blod og Pentagram is the B-side and roughly translates into Blood and Pentagram (which doesn’t feel right as a title). A great slow, progressive riff, a monstrous scream, and a building sense of dread and horror. Another scream accompanied by the drums bursts this track into life and what a track. The riff, mutating, evolving and pure second wave, is just wonderful. The vocals again give us a blast of real black metal singing and the song just lifts us into another level of static music. The riff gets heavier and more brutal, driving and melodic, still punctuate by screams and rasps of pure evil. The drums on this track are superb, dancing from fill to fill whilst mixing perfectly with the guitars. The point of this track is to take these bare ingredients and build and build – noise, speed, power, the sense of evil, almost like an atmospheric track the end leaves you drained, shaken, and wanting more. Until you actually hear this, you won’t realise what a real gem has been discovered. Why on earth this band only produced one EP is beyond me. I’d rather have another EP of this than multiple albums from some of today’s second-rate bands. You have been warned.
One Head, One Tail
One Tail, One Head are regarded by many as one of the most exciting bands to have seen live mainly because of their physical energy and intense stage presence. I was lucky to see them in England back in 2015 (a great bill which also included Mgla and Mispyrming.) A totally uncompromising act, whose influences are there to be heard. Darkthrone is often mentioned (which I think is overdone and a bit unfair), Ildjarn, early Tulus, and even Trelldom. Moreover, connections can be heard with classic rock ’n’ roll and definitely punk. Despite this host of influences and comparisons, they have a unique sound (which we shall explore) and what’s more surprising in this respect is that the band is comprised of musicians who in multiple other bands. Thus, at one time or another, the following musicians plays in One Tail, One Head: ⷚ (Aka Sundli) (See part 1), J. E. Åsli (See part 1), Luctus (Aka Wraath and Afgrundsprofet) (See part 1), Steingrim Torson Brissach (Aka. Mehimoloth and R.I.P. 2009) (See part 1), Azazil (Aka Kvitrim) (See part 1), with Andras Marquis T. (Altaar, ex-Thunderbolt, ex-Amulet, ex-JR Ewing, ex-Lash Out, ex-The Goodtimes) being the ‘new’ guy for these articles (interestingly, Andras also provides artwork and layout to several Nidrosian albums and EPs). The broke up in December, 2018, but still to this day are heavily represented on social media, which in itself in unusual for any Nidrosian band. Their discography is again sporadic, consisting of, One Tail, One Head (Demo, 2008), Demo II (Demo, 2008), One Tail, One Head (EP, 2011), Tandava (EP, 2011), and Worlds Open, Worlds Collide (LP, 2018). They also managed to produce One Tail, One Head (Compilation, 2011)
and Firebirds b/w Prowess (Single, 2017). Firebirds can be found on the Worlds Open, Worlds Collide LP, whilst Prowess was a new track.
So what then, do the band sound like? Compare them to who you will, but one word seems to sums them up, raw. Worlds Open, Worlds Collide starts with howling, feedback-driven guitars set against a throbbing pulse of synths. Atmospheric isn’t the word. Then the drums exploded and a very 1960’s riff chugs along (I kid you not, it sounds a bit like Jimi Hendrix!). This doesn’t last long and then we get a dream from hell, blast beats, and a punk inspired riff that is manic and ferocious. The vocals throughout are bellowed, screamed, and viscous. The song changes tempo to a mid-pace onslaught, contrasting the tortured vocals with a great riff but once again the blast beats, manic riff, and howling vocals reappear. Contrast is a word I would use with this band, the dark and the light, fast and slow, intense and lighter moods, set against a low-fi production (I can’t hear the bass at all), and the opening song, Arrival, Yet Again, is a brutal and furious assault. The total track jumps in with blast beats, growling vocals, and a riff that takes me back to the 1980s UK new wave scene. There is a definite punk feel here and, yes, mid-Darkthrone, and but the vocals convey an anger that is incandescent. However, the track completely breaks down and we get huge chords set against a howling of pure agony. It’s a wonderful section, and it builds with flashes of occasional drums, screams, an intense atmosphere, and just as suddenly the track explodes into a rabid horror-show of screams, blast beats, and a riff played at a million miles an hour. The horrendous vocals (I mean that in a good way) are very unsettling and the song overall is disorientating. Stellar Storms introduces a wonderful, second wave riff, death grunts, and superb drumming. Energetic and powerful this is a great track. The vocals and drums seem to pitched against the guitars in a contrast of low versus high. Changes of tempo, key, intensity abound in this track, and it almost all breaks down into complex mess (yes, I hear a bass!). The vocals are
bellowed in this section, the drums begin to pick up tempo , yet the riff remains, hypnotic and urgent. This is intense stuff. Somehow the band keep it together and
set off again on a brutal assault of blast beats, screams, and riffing, yet even amongst this the song changes tempo and back again and changes again. The listening is pummelled and the rapid changes are both exhilarating and challenging. I can’t imagine anything more raw, yet controlled. When it ends, (with someone whistling!) you will feel drained and ecstatic. An Utter Lack of Meaning, Hitherto Unbeknownst, Suddenly Revealed is a two and a half minute atmospheric and ambient track. Synths groan and throb, and in the gloom another synth emerges, building up the tension, the feeling of dread and loneliness. Firebirds is the standout track on the album. Blistering riffing, blast beats, and unbelievable vocals, the track is raging. You can’t help but think second wave yet the vocals carry this into the modern era, bellowing, forceful, and screams from hell reverb around your brain. Interestingly, the riffs and drums take us back to UK punk and new wave, and this astonishing mix is truly rewarding. Again, it’s about the contrasts, the old against the new, the light against the dark. It’s the fabulous vocals which win the day and are the main focal point of the track. Ranging from the bestial to the full on satanic, they dominate the track and you find yourself drawn in despite the feeling of unprecedented anger. Colossal and marvellous. Sordid Sanctitude begins with an atmospheric interlude of synths and bass. The drums and guitars add more texture and a beat of sorts begins. It foreboding and builds in its intensity. The drums pick up and we’re off with a heavily distorted riff, discordant drums, and a feel of the new wave again. Great fast riffing set against huge chords and a steady drum beat, this is both black metal and a throwback to the 1980s, what a
marvellous mixture. The bass is quite prominent here, and helps drive the track, yet the low-fi production places this firmly in someone’s basement or garage. A single stretching guitar backed by a single beat and crashing chords brings the song to the end and we get wonderful drums swirling and smashing through the guitars. It all ends with feedback and synths and its only then that you realise that this was an instrumental. This band has a wonderful way of drawing you into their music which I haven’t felt in a long time. Rise in Red, by contrast, is a furious assault of blast beats, incredible riffs, and a growling, furious vocal. It’s so fast that it can barely hold itself together and occasionally you get the feeling that the vocals are playing catchup, but the contrasts begin with slower, more doomy sections, filled with ominous drums, crashing riffs, and howling, before a huge, titanic series of guitar chords bring us back into the speed and fury. Again, the vocal impress, yet the guitars, not sounding like black metal riffs, intoxicate your senses, brilliant playing, controlled, aggressive, and surprisingly, melodic. It’s all manic and full of rage and the guitar riffs only get faster and faster! Phew! Passage starts with a wonderful riff before the grunt and drums join in, but the fast is contrasted cleverly with the slower sections. Some incredible screams and growls here, and the drumming is so busy, but eventually we get a verse of sorts with urgent drumming, excellent riffing, and those vocals, man, so good. It doesn’t last long, it couldn’t, it’s so fast as to almost lose control, but what a wonderful injection of hate filled speed. Summon Surreal Surrender finishes the album with a brilliant track. Marvellous riffing set against a steady bass drum beat, prowling bass work, and then a build up of aggression and speed. The vocals are, once again, marvellous, but the tightness of the band on this track is wonderful. The riffing and rums play against and with each, like some monstrous dance-of-death. Again, I am taken back to a 1980s feel, punk, maybe new wave, and contrasted against the vocals it is bewildering and exciting. It’s a ten minute track, so it can’t keep up this pace, and a breakdown, led by the bass, crashing drums, and driving riffs coalesces into a synth led section where the vocals disappear into the mix and a very Nordic chorus emerges. It’s hectic and brilliant. What melody, unexpected but beautiful and haunting. I love this track and have gone back to it again and again. Another break down gives us speed and fury, blast beats, fast riffing, and the vocals prominent again, but the track keeps us disorientated by the tempo changes. It’s not progressive, it’s too angry for that, but it’s a deliberate way of pummelling the listener, forcing them to engage, immerse themselves into this world. The track is building to some massive climax, or so you think, suddenly the guitars fade out, the drum keeps a constant beat, and we get a riff straight out of Blut Aus Nord, all dissonance and complexity. The vocals growl and scream and the effect is completely addictive. This isn’t just raw black metal, it’s intelligent and something, for it’s time, new. A last section gives us chaos, melody, fury, and energy, before it speeds up to a frightful climax. There’s even a wonderful bass line that appears form nowhere! Absolutely brilliant.
Syning
A newish Nidrosian band stepped in Norwegian black metal royalty. V. Einride (Aka Vegar Ytterdal Larsen and Vyl) has played, at one time or another, in Manii, Whoredom Rife, Vemod (live), Headspin, Detention, Chton, Goat the Head, Keep of Kalessin, Subliritum, From the Vastland (live), Gorgoroth (live), Aptorian Demon, and Noctiluca, whilst Cernunnus (Aka Tor-Helge Skei and ccernn) can site Høstsol, Manes, Manii, Perifa, The Eye, Suffocation, Holissstik, Lethe, Atrox, kkoagulaa, Obscuro, as bands he has played in. Levninger (also known as R. or E. Rustad) on the other hand has played with Askeregn, Knokkelklang, Nachash, Triumph of the Moon, and Enge Store. The connection to Manii and Manes in particular injects the band with synths, programming, and ambience, as well as the ferocious black metal they also play. However, there is also a huge dose of morose, almost doomy- style black metal that contrasts with the raw black metal so reminiscent of the early 1990s. Moreover, Syning means “to cause things to happen or move at the same time and speed, or to be in harmony”.2 an interesting idea which partially explains their diverse musical approach coming together in a sort of ‘harmony’. Interestingly, some would say that Syning are a side-project of the more established Manii and there would be some truth in that. Nevertheless, this band has produced one, haunting and brilliant album, Syning (LP, 2021), and it to that that we turn to. Composed of only three songs, and coming in at under 35 minutes, the album is diverse and hypnotic, and the combination of raw black metal and ambience certainly takes us back in time. Atter igjen kommer mørket krypende, (roughly translated as, Once again the darkness comes crawling/creeping) starts with a swirl of multiple synths, which build a tension of sorts. The sound is haunting, eerie, and all the time sets an ominous atmosphere. The synths are eventually joined by tremolo picked riff played over feedback and occasional drums. Heavy distortion and feedback continues as the drum come in with a mid-tempo beat and the vocals finally appear (four minutes in) with a growling, aggressive approach. The track stops and allows the guitars to further emphasise the feedback and riff whilst a very low growl accompanies them. The mid-paced tempo returns and the hypnotic
nature of this album is established. It’s a great riff, depressive, gloomy, and yet threatening. Synths returns for a moment and then the track explodes into blast
beats and a punishing riff. The vocals are mixed low and we hear them as part of the ensemble, perfectly fitting into the speed and energy. A new riff emerges, more urgent and it drives the drums and the tempo of the track. Great guitar playing. The vocals, still low pitched, growling, provide a great backdrop to this wonderful section. Then a major break where the synths return, the guitars seem to fade into the mix and the growls and screams float above the music. That sets us up for the original riff to return, playing over the ferocious riff that intertwines so well with the drums. A massive tempo change, companied with screams, slow beats, and a huge guitar riff full of noise, distortion, and tremolo picking. It’s mighty stuff, and 11 minutes in, the track is still building it’s intensity and sense of menace and gloom. Another bout of blast beats and viscous riffing brings up a natural climax of the return of the original riff, heavily distorted, synths, and a gradual fade to oblivion through an ambient, hellish landscape. Frankly, that’s an albums worth of stuff right there. Et siste skrik, roughly translated as One last scream, once again begins with murmuring synths which build into a guitar riff, mid-paced, but full of depressive, minor notes, that chime with the slow, deadening drum beat. This is as close to doom as we going to get, but what a great start. The riff is as hypnotic as any I have heard in black metal and it lingers, like some horrid disease that wastes you. Putrid and decaying are words that wouldn’t be out of place here. The black metal shines through, though, and when the deep, growling vocals enter we have some nightmare world, full of agony and hopelessness. A rousing synth tries to lift the gloom, contrasting against the riff and the pounding drums, but it can’t and doesn’t win. The vocals enter again and seem to drown the attempt at escape.
Claustrophobic sounds (and images in you mind) drag the synths into the cacophony and the synths sound like they are dying, slowly and painfully, which turns them into a scream of sorts. This is the stuff of horror. The tempo picks up and the guitar plunges into another riff, this one disorientating and full of dread. The vocals (ironically given the title, not screaming at all), sound monstrous articulating the full sense of impeding death. The track is so intense that is seems as if there will be no remorse, no escape form this hell, but 8 minutes in and blast beats accompany the sickly riff and growls, giving a sense of urgency, but the guitars soar above the murk, a beautiful, slow, agonising riff emerging and with it bringing beauty and hope. If One last scream is death , then what a way to go.
The drums stop and all we are left with is that riff and feedback, screeching, over-distorted feedback. The growls return, assured now of victory, and the drums return with their pounding beat, matched with the triumphant guitars which produce some
wonderful melodies, a mini guitar break of sorts. The last minute of the track, we are 12 minutes in, build a climax of tension and repulsiveness, sick riffs, horrendous growls, and it all ends in the deadening synths.
Fortapt – Lost is an ambient, 6 minute track that is dominated by throbbing synths, feedback, programmed distortion producing something akin to the end of the dying world. This is dark ambient and intense music, think of Mortiis but gloomier. Acoustic strings enter, sounding out a depressive chime, with vocals wafting through the gloom. It’s slow, horror-filled, and beautiful, at odds with the raw black metal we have been through. What an end to a brilliant album. I genuinely hope that this band records some more material.
Unbeing
Unbeing was formed by the duo of Unbeing (Aka Udeth) (See part 1) and Steingrim Torson Brissach (Aka. Mehimoloth and R.I.P. 2009) (See part 1), released a couple of demos (Unbeing Black, Draped in Unlife [2006] and The Exhalation [2008]) and even managed to play at a couple of the Black Masses gigs organised by Terratur Possessions. However, the band was believed to have split-up following the death of Steingrim Torson, but Unbeing recruited Sarath (See part 1) and the pair released a demo named Transcendence in April 2013. The sound is primitive, minimal, hypnotic, low-fi, and very much in the black, depressive, doom category. This is true underground music, the band only releasing limited quantities of tapes and to date no CD or vinyl has appeared. There are no interviews, few pictures of the band performing, and hardly any trace of them on the web. Indeed, the band only managed to produce 90 minutes of music spread over four tracks, yet this facet of Nidrosian black metal has left a lasting impact and shows again the variety of music produced in this scene.
The Exhalation is a demo comprising of two tracks and 53 minutes of music and is depressive as hell. Side A opens with Deathwards; into Unlight a 27 minute track that features very basic drumming, a slow, doomy riff, and tortured screams. The lyrics sum up the music perfectly with lines such as, Apathy overtakes me./Passivity…/Inertia… and My life force flows out/through my gazing eyes,/I exhale my soul… and ends with the repeat of I repeat,/drone,/I retreat,/gone… Nothing changes in the song, the riff repeats over and over, the drums plod away with a basic 4/4, repeating the same fills, and the vocals, when they appear convey the anguish and horror of the approaching death. This is death slowly, a fading away of life, and when one steps back from the track you can see how the band has brought lyrics, music, and the title into one holistic work. Everything reinforces everything else and what you are actually hearing is death, slow, invertible, indomitable. Hypnotic and addictive, the combination of guitar, drums, and screams works perfectly well, and taken as a whole it’s a wonderful statement. It’s only when we are 23 minutes that there is a change of sorts, the track slows to a halt, the drums disappear and a guitar moans and wails, whimpering as death approaches. Feedback, distortion, all quite muted, but deliberately and symbolically representing death itself as it takes hold of the body. the end is a long, drawn-out process, but the end it is. DSBM is one thing, but this is something else. Infinity-Bound; the Exhalation is a 25 minute track that is so low-fi as to be barely listenable. A guitar drones, cymbals waft, and the track settles into a lethargic rhythm, refusing to be hurried, and the riff and drums follow very much the pattern of Side A. There are few vocals and the lyrics, as before, set out the agenda, Blinding, burning,/Traversing flesh fields finite/-an extraction and Infinity-bound/Unbeing soul/-an excellence. In many ways, this track is a continuation of the journey started in Deathwards; into Unlight and now it is the soul we focus on as it departs the body and drifts into … the unknown, I guess. As before, there is no change to the sludgy, doom-laden metal here, but rather one must think of it as a meditation on death and in many ways the tracks combine form and content to great effect.
‘Boring’ said one reviewer, but that is to miss the point, sometimes we need to shelter from the tremolo picked guitars and blast beats, just look at Burzum …
Whoredom Rife
Formed in 2014 Whoredom Rife have a live line up that involves some of the main names in the Nidrosian scene; currently the band is formed of V. Einride (As above), K.R (Parfaxitas, ex-Bloodthorn, ex-Mortuis, ex-Noctiluca), Nosophoros (See part 1), J. E. Åsli (See part 1), and H. Brovold (Corroder, Maelström, ex-Bloodthorn), and in the past Bruthor (ex-Perished), Luctus (Aka Wraath and Afgrundsprofet) (See part 1), and Azazil (Aka Kvitrim) (See part 1) have have been members. However, the band’s full-time members are V. Einride (all instruments and songwriting) and K.R. (vocals). Prolific by the standards of any Nidrosian band, Whoredom Rife’s discography is impressive, with releases such as, Whoredom Rife (EP, 2016), Dommedagskvad (LP, 2017), Nid – Hymner av hat (LP, 2018), Vinternatt (EP, 2019), Ride the Final Tide (EP, 2020), and Winds of Wrath (LP, 2021), with their latest release being Den vrede makt (LP, 2024). If you include the split release, Pakt (EP, 2020) with Taake you can see this band has been busy. Lyrically, the band focus on the Left Hand Path and Norse mythology, but as we
shall see, they also dip into the work of Nietzsche.
Sonically, the band play aggressive, crushing, black metal, true to the roots of their Norwegian heritage yet they also display a more contemporary sound, an evolution of sorts, as V. explained: It seems that black metal is still growing, which would mean it’s still developing. Many of the bands we grew up listening to, grew into something else than what they initially represented. Leaving behind them both a legacy and unexplored territory for the future generations of bands to fill. This is what I see now. Younger bands carrying the torch and breaking new ground in the echoes of the pioneers that left the trail. 3
Make no mistake, Whoredom Rife are no copycats of the second wave scene, rather their music is a natural development of the genre, managing to sound fresh and relevant, while also being dark and challenging. Nid – Hymner av hat is a case in point. Visceral, raw, and violent, the album displays an important step in the development of the band and it stamps their original sound once and for all.
Starting with Summoning the Ravens, a track that begins with a unbelievable scream, riffing guitars, and blast beats, we are thrown straight into the angry vortex that is Whoredom Rife. Fast and furious the riffs build, mutate, and develop organically, whilst the drums keep up a barrage of hate. The vocals are intense, almost growls, and place this firmly in Norwegian black metal territory. The riffing takes centre stage here, melodic, brutal, aggressive yet there is so much to listen to. When the song breaks down, the riffing changes and reveals another wonderful variation on the original riff. In this section the vocals and drums are matched, pounding way against the wonderful progressive riff, that is played mostly in the higher register. Another bellowing scream brings us back to the blast beats and original riff and an abrupt end. Truly great stuff and the louder you play it the more you more you get from it.
Verdi oeydest on the other hand, starts with an atmospheric combination of synths
and guitar feedback, before the drums explode in accompanying a deep, aggressive riff. The vocals, again verging on the growling, are harsh and evil sounding, full og hate and anger. There’s a dissonance in the riffing on this one which adds to the synth-driven atmosphere which always plays in the background. It’s another punishing track full of blast beats and a wonderful, single note riff set against some great tremolo picking. Sonically we are in the territory of Immortal, perhaps Gorgoroth, but there’s a freshness in the sound, an updating if you will and it’s pure black metal.
Where the Shadows Dwell starts with a discordant acoustic plucking away against a low, background synth, but the explosion of blast beats and tremendous refining soon puts paid to that. The riff walks and meanders but has a melodic quality to it. The vocals are simply brilliant, harsh, aggressive, and bestial. In the sections between the vocals a single note riff, quite dissonant and feedback driven rides high above the thunder of the drums and main riff. Surpassingly, with all the pace and noise, the track is melodic and haunting. The fury abates and we return to the acoustic guitar and synths, but again not for long. The drums and a wonderful, Dissection-like riff introduces a new direction to the song. That plunges straight into a furious section of blast beats and tremolo picking, but the riff still flutters above the cacophony. The vocals really are top notch on this track and add to the atmosphere and melody. A wonderful scream descends into a growl from hell and the track hurtles toward the end with urgency and hate.
Hyllest, roughly translated as Homage, has two guitars riffing against one another before the drums join in. It’s great to listen to as sometimes the riffing on black metal tracks tends to sound as if there is only one guitar. The bass is prominent on this track and works well against the two guitars, who have now split into one low riff and one playing in the higher register. It works wonderfully well and the vocals seem to connect the riffs even further. The production on this album is very good, less low-fi than previous recordings and I think this album needs it as there are a lot of subtle guitar melodies and riffs which would be lost in a rawer production. It’s another pounding, visceral track, and it doesn’t let up. 5 minutes in and we get a great high pitched riff which strangely matches the vocals and the effect is to add another layer of complexity to this track. The guitars here are straight from the second wave, but the way they are juxtaposed is the exciting and new. Fabulous track.
Crown of Deceit immediately stamps an unrelentingly violent assault on the listener,
and can only be described as pure, unmitigated fury. The vocals are pure hate, set against busy drums and a dissonant, aggressive riff, which disorientates despite being melodic. Throughout this album the playing/singing is excellent and each track seems to be building upon the last to reach some gruesome climax. A break in the song gives us another urgent, powerful riff which is matched by the drums and an unholy scream which turns into an uncomfortable screeching. Again lower and higher pitched riffs are contrasted and this works so effectively that it is a major trait of the album.
New Hate Dawns does what it says on the tin. The level of hate on this album is notched up again on this track. Now, however, we have a new, dark melodic approach which contrasts against an undercurrent of palpable rage and anguish. A riff weaves and battles its way around thundering drums, and the vocals have lost all restraint. (I think the riff reminds me of the riff on Negura Budget’s Om album, the track Caesura Rele!) Quite simply, K.R. is one of the best black metal vocalists around. The song is so furious that one wonders if this is what it sounds like to be caught up in an artillery barrage. The track breaks to set two guitars against each other accompanied by a steady drum beat and there is a groove to this section. When the vocals enter a soaring riff is pitched against the main riffs and there’s something majestic here. It’s a beautiful track, atmospheric as hell, and straight to the point.
Ceremonial Incantation closes the album in which we get ten minutes of astonishing, complex riffs matched against hypnotic percussion, and blistering vocals. Moreover, the track is punctuated with eruptions of malevolent groove and melody. It opens with a dissonant riff that develops and erupts into a steady, disorientating groove. This is fabulous stuff. The harsh, growling vocals natch well against the sickening riff. This is the best track on the album and is ten minutes of bliss. Synths and growls combine to battle the steady beat and intoxicating riff, and again the contrasts that the band put together are truly marvellous. If this track was shorter, or edited, it would make a great single. A break down gives the guitar time introduce another riff, and when the track starts up again we have a faster tempo with blast beats and a dizzying guitar riff. This eventually resolves itself back into the original riff and the drums hit us with a solid beat that grooves all the way to hell and back. Whoredom Rife are renowned for their raw, brutal black metal, but tracks like this show their more melodic side and great songwriting. What a way to end an album, an album which has displayed the many sides of one of the best bands in the Nidrosian scene.
Epilogue
I was very aware when writing the parts of this article that the whole point of the Nidrosian black metal scene was the fact that it was underground and eschewed publicity or ‘main’stream’ activities like interviews, books, articles, etc. However, two factors persuaded me that I should write this articles. The first being quite simply that the scene has now become better known and some bands have crossed over into what I would call the ‘main-stream’ black metal world. Thus, bands like Vemod, One Tail, One Head, Whoredom Rife, and perhaps even Kaosritual have achieved a decent level of recognition and tour/album sales. As I have mentioned, since Steingrim Torson Brissach’s death, the Nidrosian scene has grown more popular and events such as the Caerimonia Nidrosia Festival sell out quite quickly. New albums, physical and virtual, are easily available, and even though some of the back catalogue of these bands is difficult and expensive to buy, every Nidrosian album is available to stream for free on channels such as YouTube. Josh Brown’s Ancient Black Art: Nidrosian Black Metal book has further exposed the scene to a wider audience and I can only see that trend continuing. It is true that some bands remain underground in attitude and the limitations they place on releasing recorded material, but gradually even this is being eroded for better or worse. My view is that such wonderful music needs to be listened by a wider audience and I hope this article helps. Of course, I am still torn between wanting more success for these bands but also feeling that I want to keep the secret for
purely selfish reasons!
Picking only ten bands to explore was a difficult task and some great bands were left out as a result. I saw no point in writing about Vemod in this article since they are becoming more exposed to a larger audience as is right. I wanted to give the reader a selection of bands that perhaps they had heard of and wanted to know more, and bands they hadn’t heard of. This article is, if you like, a taster and I hope that the reader would wish to further explore this rich view of music. I do, however, want this article to be in depth exploration of the scene, so what follows is all the bands I know off, their discography’s and band members. Indulge me!
Finally, even as I write new albums are being released and others set for release and so this article with never be complete. Thus, Enevelde and Whoredom Rife released albums as I was writing this article and Robust have an album out in April! Grrr!
Other Nidrosian bands
Aptorian Demon
Angst, jammer og fortvilelse (EP, 2005)
Domfeldt (Split with Slagmaur, 2007)
Libertus (Album, 2012)
Når livet tar slutt (Single, 2024)
Liv tar slutt (Album, 2024)
Beyond Man
Neter-khertet (Demo, 2008)
Art Beyond Man (Single, 2020)
Beyond Man (Album, 2021)
Castrum Doloris
I shall become (Demo, 2011)
Dark Sonority
Formed after the demise of Kaosritual when Steingrim passed.
Kaosrekviem (EP, 2012)
Exitium
Ad Regnum Sathanas (Demo, 2001)
Grenjar
Mors Atra (Demo, 2002)
Taarer i mine saar (Demo, 2002)
Naar skogen lokker (Demo, 2003)
Rehearsal 2003 (Demo, 2003)
Av eldre kunst / Stimmen aus der Tiefe (Split with Kargvint, 2004)
Svart sammensvergelse (Split with Vantro a band also from Trondheim but
information about them is nigh on impossible to find, 2004)
Jammerskrik
Demo I (Demo, 2005)
Innlemmet i mørke (Album, 2008)
Min Kniv
Av aske (Demo, 2007)
Misotheist
Solo project of Brage Kråbøl
Misotheist (Album, 2018)
For the Glory of Your Redeemer (Album, 2021)
Vessels by Which the Devil Is Made Flesh (Album, 2024)
Ritual Death
Ritual Death (EP, 2016)
Mors Triumphans (Split with , 2017)
Ritual Death / Aosoth (Split with , 2017)
Ritual Death (EP, 2018)
El Señor de la tumba (Compilation taken from the two EPs and Splits, 2020)
Ritual Death (Album, 2022)
Saligia
Rehearsal (Demo, 2007)
Seven (Demo, 2008)
Sic Transit Gloria Mundi (Promo) (Demo, 2010)
Sic Transit Gloria Mundi (Album, 2011)
Lvx Aeternae (EP, 2013)
Fønix (Album, 2015)
Vesaevus (Album, 2019)
Sarath
One man project by Sarath.
Solen over Birkenau (Demo, 2001)
Preludium (Demo, 2003)
Lengsel (Demo, 2005)
Husk, du skal dø (EP, 2005)
Siste indre (Album, 2010)
Salvhat
Solo project of Steingrim Torson Brissach.
Den svarte tid (Demo, 2004)
Die schwarze Zeit (Demo, 2004)
Der tiden sto stille (Demo, 2005)
Rehearsal MMV (Demo, 2005)
Selvhat (Compilation of the preceding Demos, 2006)
Avskjed & Det som var tilbake (EP, 2006)
Einsam in Ewigkeit (EP, 2007)
I hyllest til døden og ljaaens kraft (Demo, 2007)
Gjennom moerket famlende (Album, 2008)
Avskjed (Compilation of the entire oeuvre, 2022)
Slagmaur
Helvette (Demo, 2006)
Svin (Demo, 2006)
Skrekk (Demo, 2006)
Domfeldt (Split with Aptorian Demon, 2007)
Skrekk lich kunstler (Album, 2007)
Von Rov Shelter (Album, 2009)
Thill Smitts Terror (Album, 2017)
Three Protocols of Fosen (Boxed set, [comprising of Helvette (Demo, 2006)
Svin (Demo, 2006), Skrekk (Demo, 2006), and Domfeldt (Split, 2007)], 2017)
Wildkatze (Single 2019)
Ritual Dogs (Single, 2022)
Vemod
Not to be confused with Vemod from Namsos, Nord-Trøndelag. This band was
formed by Saargh and Loedus, who are brothers. Loedus also played with Exitium.
Demo 1998 (Demo, 1998)
Vemod
Kringom fjell og skog (Demo, 2004)
Moestæ Qverelæ (Split with Klage, 2011)
Vinterilden (Demo, 2011)
Venter på stormene (Album, 2012)
The Deepening (Album, 2024)
If I’ve missed any, do let me know, cheers!
Citations
1 https://van-records.com/
2 https://dictionary.cambridge.org/dictionary/english/sync
3 https://distortedsoundmag.com/interview-v-einride-whoredom-rife/
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