⛧
Immortal (1991)
Immortal rose from the ashes of an earlier death metal band, known as Amputation, back in 1990. For one reason or another, it was decided to start fresh despite having lost only one rather unimportant member. What some may not be aware of is that Immortal started out by continuing on the same musical path, playing their own form of death metal. It was sometime after this that Euronymous got Abbath into black metal, thus altering the course of Immortal's career (and quite likely saving them from becoming yet another forgotten band, among countless others that were playing the same style). Though they had just released their first demo in July, by October 1991 Immortal unleashed their first E.P. upon the world. This would mark the first Norwegian black metal release since Mayhem's Deathcrush, in 1987.
This E.P. only contains two songs, plus an intro. In this case, the intro is short enough and does a good job in establishing a dark and ominous tone. "Unholy Forces of Evil" is an interesting song, as it officially introduced the underground to the band's new sound. Abbath's vocals have changed from the very deep and guttural sound that was heard in Amputation, and on the first Immortal demo, to something much more raspy. His voice was very close to the way it would sound on Diabolical Fullmoon Mysticism, but not completely. Much like Darkthrone would do, Immortal chose to recycle some of their death metal riffs, rather than taking the time to create entirely new songs. Perhaps, they were in a hurry to record something that reflected their change in outlook. "Unholy Forces of Evil" includes re-worked riffs from the earlier demo, most likely from the song "Suffocate the Masses" (though it is difficult to tell, since all of those tracks are so similar). For one reason or another, the atmosphere does not manage to match that of the later version. "The Cold Winds of Funeral Frost" has a bit more of an old school feeling, thanks in part to the percussion and the overall vibe of the songwriting. Like the previous song, it moves along at a rather relaxed pace, with some hints of a Bathory influence. Also, like the first track, it builds up to a more intense speed with blasting drums, near the end.
The production is not so much raw as it is kind of muddy. The guitar tone lacks the cold feel of Diabolical Fullmoon Mysticism. As a result, the guitar riffs are not as sharp and tend to blend in with the rest of the instruments. In particular, the bass is too high in the mix and, combined with the lack of sharpness in the guitar tone, gives the music more of a warm feeling. As for the vocals, they also seem to blend in to the rest, to an extent. It could be due to the levels, just as much as the fact that Abbath's voice doesn't have the exact same edge to it that he would later develop. Little things like this, along with the more subtle nuances in execution on the full-length, make a big difference in the type of atmosphere that is present.
Immortal is definitely an interesting E.P. and is recommended for hardcore Immortal fans, though it is hardly essential for anyone else. Other than the intro, superior versions of these songs can be found on the band's debut full-length, so there is no real reason to go to any trouble in seeking this out. As a matter of fact, within the context of Diabolical Fullmoon Mysticism, these aren't even the strongest songs on the record. This is the sort of record that was far more important when it was new, though losing its significance once they released their first L.P.
This E.P. only contains two songs, plus an intro. In this case, the intro is short enough and does a good job in establishing a dark and ominous tone. "Unholy Forces of Evil" is an interesting song, as it officially introduced the underground to the band's new sound. Abbath's vocals have changed from the very deep and guttural sound that was heard in Amputation, and on the first Immortal demo, to something much more raspy. His voice was very close to the way it would sound on Diabolical Fullmoon Mysticism, but not completely. Much like Darkthrone would do, Immortal chose to recycle some of their death metal riffs, rather than taking the time to create entirely new songs. Perhaps, they were in a hurry to record something that reflected their change in outlook. "Unholy Forces of Evil" includes re-worked riffs from the earlier demo, most likely from the song "Suffocate the Masses" (though it is difficult to tell, since all of those tracks are so similar). For one reason or another, the atmosphere does not manage to match that of the later version. "The Cold Winds of Funeral Frost" has a bit more of an old school feeling, thanks in part to the percussion and the overall vibe of the songwriting. Like the previous song, it moves along at a rather relaxed pace, with some hints of a Bathory influence. Also, like the first track, it builds up to a more intense speed with blasting drums, near the end.
The production is not so much raw as it is kind of muddy. The guitar tone lacks the cold feel of Diabolical Fullmoon Mysticism. As a result, the guitar riffs are not as sharp and tend to blend in with the rest of the instruments. In particular, the bass is too high in the mix and, combined with the lack of sharpness in the guitar tone, gives the music more of a warm feeling. As for the vocals, they also seem to blend in to the rest, to an extent. It could be due to the levels, just as much as the fact that Abbath's voice doesn't have the exact same edge to it that he would later develop. Little things like this, along with the more subtle nuances in execution on the full-length, make a big difference in the type of atmosphere that is present.
Immortal is definitely an interesting E.P. and is recommended for hardcore Immortal fans, though it is hardly essential for anyone else. Other than the intro, superior versions of these songs can be found on the band's debut full-length, so there is no real reason to go to any trouble in seeking this out. As a matter of fact, within the context of Diabolical Fullmoon Mysticism, these aren't even the strongest songs on the record. This is the sort of record that was far more important when it was new, though losing its significance once they released their first L.P.
(8 Sept. 2012)
Diabolical Fullmoon Mysticism (1992)
Diabolical Fullmoon Mysticismis the first full-length from Norwegian black metal band Immortal. The album was recorded in Grieghallen Studios, around the same time as Det som engang var, and produced by Pytten. The sound is very similar to that of early Burzum, due to similar production, while there is also a strong Bathory influence here, particularly from Blood Fire Death.
The music here mixes oldschool black metal with the style that would later become synonymous with the Norwegian scene. Fast tremolo riffs and blasting drums rage forth like an arctic storm in "The Call of the Wintermoon", while oldschool drumbeats typical of bands like Venom and Mercyful Fate appear throughout much of the album. Demonaz's riffs often have a sense of something ancient and produce images of old, forgotten tombs and battlefields littered with corpses long dead. Abbath's screams are noticeably different than the severely grim croaking sound that he would utilize on the next album. This more primal, intense style is better and seems more natural. His vocals are often wild and animalistic, adding a lot to the atmosphere.
Acoustic guitars also appear a few times, particularly in "Cryptic Winterstorms" and "A Perfect Vision of the Rising Northland", lending a mournful and epic feeling that at times recalls both viking-era Bathory and early Burzum. One particularly ominous riff in the latter song even possesses traces of early Mayhem, creating an unsettling feeling. Lead guitar solos also appear throughout the album, adding depth to the material, though Immortal would largely abandon this element moving forward. The slight keyboard use in the final track is also handled well and only serves to enhance the sense of dread and melancholy present throughout much of the album.
Diabolical Fullmoon Mysticism is the best thing Immortal ever released. Most praise usually goes to Pure Holocaust, but the debut has more atmosphere while still being firmly rooted in '80s black and heavy metal. It feels closer to that earlier style in its riffs and structure, while still hinting toward what the Norwegian scene would become.
The music here mixes oldschool black metal with the style that would later become synonymous with the Norwegian scene. Fast tremolo riffs and blasting drums rage forth like an arctic storm in "The Call of the Wintermoon", while oldschool drumbeats typical of bands like Venom and Mercyful Fate appear throughout much of the album. Demonaz's riffs often have a sense of something ancient and produce images of old, forgotten tombs and battlefields littered with corpses long dead. Abbath's screams are noticeably different than the severely grim croaking sound that he would utilize on the next album. This more primal, intense style is better and seems more natural. His vocals are often wild and animalistic, adding a lot to the atmosphere.
Acoustic guitars also appear a few times, particularly in "Cryptic Winterstorms" and "A Perfect Vision of the Rising Northland", lending a mournful and epic feeling that at times recalls both viking-era Bathory and early Burzum. One particularly ominous riff in the latter song even possesses traces of early Mayhem, creating an unsettling feeling. Lead guitar solos also appear throughout the album, adding depth to the material, though Immortal would largely abandon this element moving forward. The slight keyboard use in the final track is also handled well and only serves to enhance the sense of dread and melancholy present throughout much of the album.
Diabolical Fullmoon Mysticism is the best thing Immortal ever released. Most praise usually goes to Pure Holocaust, but the debut has more atmosphere while still being firmly rooted in '80s black and heavy metal. It feels closer to that earlier style in its riffs and structure, while still hinting toward what the Norwegian scene would become.
(12 Sept. 2008)
Pure Holocaust (1993)
Pure Holocaust is the second album from Immortal. This was recorded in Grieghallen Studio, produced by Pytten. Released in November 1993, this represents a definite shift from its predecessor and establishes the sound that the band would become best known for.
As "Unsilent Storms in the North Abyss" begins, you may first notice the change in sound. Everything is colder and the guitars are a bit sharper. Regarding the production, the band seems to follow Burzum once again. The sound on Diabolical Fullmoon Mysticism can be compared to that of Det som engang var; however, here, the sound more closely resembles that of Hvis lyset tar oss. The vocals also changed, becoming more trollish and grim. It was at this time that Abbath established his trademark style. With the loss of Armagedda, Abbath also took over drumming duties on this album, and the difference is hard to miss. Here is found far more double bass and a totally chaotic way of drumming. The riffs played by Demonaz seem to have less in common with Bathory and far more influence from Mayhem.
As "Unsilent Storms in the North Abyss" begins, one can immediately notice the change in sound. Everything is colder and the guitars are a bit sharper. The tremolo harmonies are chilling to the bone; the kind that could freeze you in the middle of summer. This may be the one improvement in sound from the last album. There is no protection from the bitter cold melodies on this album. Abbath's drumming adds greatly to the feeling of a merciless blizzard, though there are times when the constant barrage overpowers the riffs beneath it. Some of Demonaz's best cold tremolo melodies have to fight their way through the drums. This is especially noticeable on some of the faster material, such as "Storming Through Red Clouds and Holocaustwinds".
"The Sun No Longer Rises" begins with a furious speed but becomes more mid-paced as it goes along. Giving the riffs some room to breathe aids in creating a colder and darker atmosphere. "As the Eternity Opens" is, possibly, the best song on the album. This is a more mid-paced affair, containing many freezing melodies and an almost mournful feeling. This really shares similarities with Burzum. The guitars are bleak and icy while the bass has a somber feeling. Much like some of the material on the debut, this possesses a very grim and epic atmosphere.
Most seem to consider Pure Holocaust to be Immortal’s best album. It is quite solid and memorable, but I would still give the nod to Diabolical Fullmoon Mysticism. That being said, this is a very good record, worthy of much praise.
As "Unsilent Storms in the North Abyss" begins, you may first notice the change in sound. Everything is colder and the guitars are a bit sharper. Regarding the production, the band seems to follow Burzum once again. The sound on Diabolical Fullmoon Mysticism can be compared to that of Det som engang var; however, here, the sound more closely resembles that of Hvis lyset tar oss. The vocals also changed, becoming more trollish and grim. It was at this time that Abbath established his trademark style. With the loss of Armagedda, Abbath also took over drumming duties on this album, and the difference is hard to miss. Here is found far more double bass and a totally chaotic way of drumming. The riffs played by Demonaz seem to have less in common with Bathory and far more influence from Mayhem.
As "Unsilent Storms in the North Abyss" begins, one can immediately notice the change in sound. Everything is colder and the guitars are a bit sharper. The tremolo harmonies are chilling to the bone; the kind that could freeze you in the middle of summer. This may be the one improvement in sound from the last album. There is no protection from the bitter cold melodies on this album. Abbath's drumming adds greatly to the feeling of a merciless blizzard, though there are times when the constant barrage overpowers the riffs beneath it. Some of Demonaz's best cold tremolo melodies have to fight their way through the drums. This is especially noticeable on some of the faster material, such as "Storming Through Red Clouds and Holocaustwinds".
"The Sun No Longer Rises" begins with a furious speed but becomes more mid-paced as it goes along. Giving the riffs some room to breathe aids in creating a colder and darker atmosphere. "As the Eternity Opens" is, possibly, the best song on the album. This is a more mid-paced affair, containing many freezing melodies and an almost mournful feeling. This really shares similarities with Burzum. The guitars are bleak and icy while the bass has a somber feeling. Much like some of the material on the debut, this possesses a very grim and epic atmosphere.
Most seem to consider Pure Holocaust to be Immortal’s best album. It is quite solid and memorable, but I would still give the nod to Diabolical Fullmoon Mysticism. That being said, this is a very good record, worthy of much praise.
(30 Jan. 2009)
Battles in the North (1995)
Battles in the Northis the third L.P. from Immortal. It was recorded in Grieghallen Studio and produced by Pytten in September 1994. As with Pure Holocaust, everything here was performed by Abbath and Demonaz. The sound is very similar to the previous album, yet far less organic. The guitars merge together into an impenetrable wall of sound and hardly anything is able to pass through.
The distant atmosphere that Pure Holocaust exhibited as a whole has been replaced with an up-close and much drier feeling. The blurry guitar riffs no longer create the sensation of standing in a frozen wilderness. Everything is direct, punchy and compressed into one giant mass. The guitars merge together into a thick wall of sound while the drums pound away on top of everything else. At times, the drums are so dominant that the cold tremolo melodies flowing beneath them are difficult to pick out. There are moments where melodies seem poised to unfold and take hold, yet the songs move on before they have a chance to breathe. The compositions often feel too compact. The vocals have also become something of a caricature of what came before.
There are still a few passable songs. The title track is one of the better ones on here, unleashing a savage intensity. "Circling Above in Time Before Time" contains some of the best and most memorable riffs on the album, along with an epic feeling that recalls earlier Immortal. "Blashyrkh (Mighty Ravendark)" gives the riffs a chance to breathe, creating a cold and dark atmosphere that much of the album lacks. The acoustic passages and brief touch of keyboards only strengthen this feeling.
Battles in the North is inferior to the albums that came before it. A few songs stand out, yet the production is so horribly modern and soulless that there is little reason to bother with this. If you want to hear Immortal at their best, stick to Diabolical Fullmoon Mysticism or Pure Holocaust.
The distant atmosphere that Pure Holocaust exhibited as a whole has been replaced with an up-close and much drier feeling. The blurry guitar riffs no longer create the sensation of standing in a frozen wilderness. Everything is direct, punchy and compressed into one giant mass. The guitars merge together into a thick wall of sound while the drums pound away on top of everything else. At times, the drums are so dominant that the cold tremolo melodies flowing beneath them are difficult to pick out. There are moments where melodies seem poised to unfold and take hold, yet the songs move on before they have a chance to breathe. The compositions often feel too compact. The vocals have also become something of a caricature of what came before.
There are still a few passable songs. The title track is one of the better ones on here, unleashing a savage intensity. "Circling Above in Time Before Time" contains some of the best and most memorable riffs on the album, along with an epic feeling that recalls earlier Immortal. "Blashyrkh (Mighty Ravendark)" gives the riffs a chance to breathe, creating a cold and dark atmosphere that much of the album lacks. The acoustic passages and brief touch of keyboards only strengthen this feeling.
Battles in the North is inferior to the albums that came before it. A few songs stand out, yet the production is so horribly modern and soulless that there is little reason to bother with this. If you want to hear Immortal at their best, stick to Diabolical Fullmoon Mysticism or Pure Holocaust.
(9 Feb. 2009)
Blizzard Beasts (1997)
Recorded in the autumn of 1996 and released early the following year, Blizzard Beasts was Immortal's first album recorded outside of Grieghallen. It also marked the arrival of Horgh on drums, though he did not contribute much to the songwriting. The sound is atrocious. As on Battles in the North, the guitars are buried beneath the drums, but the drum sound is even worse here. At times, the album sounds as if it were recorded under water. Whatever atmosphere the riffs might have created is smothered by the production before it ever has a chance to take hold.
The songwriting fares little better. Much of the material feels uninspired and directionless, as Immortal seems unsure whether it wants to play black metal, death metal or thrash metal. They must have been listening to too much modern Morbid Angel. There are occasional decent riffs scattered throughout the album, but they rarely go anywhere. Many of the ideas foreshadow the style that would appear on later albums, yet they were executed far more successfully elsewhere. Even when a promising melody appears, it is usually displaced by mediocre thrash riffs or buried beneath the production. "Mountains of Might" is the lone exception. The melancholy atmosphere, sorrowful tremolo melodies and epic feeling make it the only song here that I ever feel any desire to revisit. Even then, it is mediocre when compared to the stronger material found on the albums that came before it.
Blizzard Beasts is entirely worthless. Even the few decent ideas that appear throughout the album can be heard done much better on other Immortal releases. Later efforts like At the Heart of Winter and Sons of Northern Darkness also have little in common with the early material, but were at least executed far more successfully. There is very little reason to spend time with this album when nearly every aspect of it was done better either before or after.
The songwriting fares little better. Much of the material feels uninspired and directionless, as Immortal seems unsure whether it wants to play black metal, death metal or thrash metal. They must have been listening to too much modern Morbid Angel. There are occasional decent riffs scattered throughout the album, but they rarely go anywhere. Many of the ideas foreshadow the style that would appear on later albums, yet they were executed far more successfully elsewhere. Even when a promising melody appears, it is usually displaced by mediocre thrash riffs or buried beneath the production. "Mountains of Might" is the lone exception. The melancholy atmosphere, sorrowful tremolo melodies and epic feeling make it the only song here that I ever feel any desire to revisit. Even then, it is mediocre when compared to the stronger material found on the albums that came before it.
Blizzard Beasts is entirely worthless. Even the few decent ideas that appear throughout the album can be heard done much better on other Immortal releases. Later efforts like At the Heart of Winter and Sons of Northern Darkness also have little in common with the early material, but were at least executed far more successfully. There is very little reason to spend time with this album when nearly every aspect of it was done better either before or after.
(9 Feb. 2009)
At the Heart of Winter (1999)
At the Heart of Winter is the fifth L.P. from Immortal, released in February 1999. After the disastrous Blizzard Beasts, the band returned with a vastly different approach. Recorded at Peter Tägtgren's Abyss Studio in late 1998, the production was a major improvement over its predecessor.
Following health problems that prevented Demonaz from continuing as a guitarist, Abbath handled the guitars, bass, vocals and synths on this album, while Demonaz continued to write the lyrics. The songwriting is more focused than it was on the previous album, with the death metal roots that lingered throughout the band's early years now largely abandoned in favor of a more organized style built around epic song structures, cold melodies and a strong influence from German thrash metal.
The guitars are the focal point throughout the album, much as they should be. Riffs and melodic themes are given ample time to develop before moving on, a sharp contrast with Battles in the North, where many ideas seemed to disappear before they could fully take hold. Tremolo-picked melodies still appear, but they are used more selectively and surrounded by rhythmic variations, acoustic passages and slower sections that strengthen the atmosphere rather than interrupt it. Everything seems to have a purpose, working toward the same goal.
Despite the stylistic changes, the atmosphere has not changed as much as one might expect. Though the sound is very different from Diabolical Fullmoon Mysticism, the same sense of epic sorrow and wintry melancholy still runs beneath the surface. This can be heard in songs such as "Withstand the Fall of Time", “Solarfall” and “Years of Silent Sorrow”, where the strongest melodies are allowed room to breathe.
The album is not without flaws. The vocals are still a dry, creaking sound that is inferior to that found on the debut, but it could have been worse. Some of the longer songs can become monotonous after repeated listens and a few sections go on longer than necessary. The production is too clear and modern, and the repetition in the songwriting becomes more noticeable over time. All in all, At the Heart of Winter is one of the more solid records from the band’s later period and worth checking out.
Following health problems that prevented Demonaz from continuing as a guitarist, Abbath handled the guitars, bass, vocals and synths on this album, while Demonaz continued to write the lyrics. The songwriting is more focused than it was on the previous album, with the death metal roots that lingered throughout the band's early years now largely abandoned in favor of a more organized style built around epic song structures, cold melodies and a strong influence from German thrash metal.
The guitars are the focal point throughout the album, much as they should be. Riffs and melodic themes are given ample time to develop before moving on, a sharp contrast with Battles in the North, where many ideas seemed to disappear before they could fully take hold. Tremolo-picked melodies still appear, but they are used more selectively and surrounded by rhythmic variations, acoustic passages and slower sections that strengthen the atmosphere rather than interrupt it. Everything seems to have a purpose, working toward the same goal.
Despite the stylistic changes, the atmosphere has not changed as much as one might expect. Though the sound is very different from Diabolical Fullmoon Mysticism, the same sense of epic sorrow and wintry melancholy still runs beneath the surface. This can be heard in songs such as "Withstand the Fall of Time", “Solarfall” and “Years of Silent Sorrow”, where the strongest melodies are allowed room to breathe.
The album is not without flaws. The vocals are still a dry, creaking sound that is inferior to that found on the debut, but it could have been worse. Some of the longer songs can become monotonous after repeated listens and a few sections go on longer than necessary. The production is too clear and modern, and the repetition in the songwriting becomes more noticeable over time. All in all, At the Heart of Winter is one of the more solid records from the band’s later period and worth checking out.
(10 Feb. 2009)
Sons of Northern Darkness (2001)
Sons of Northern Darkness is the seventh full-length album from Norway's Immortal. It was recorded in Abyss Studios, in September 2001. While the production has a certain modern sound to it, the band intentionally went for more of an 80s approach to the songwriting, while still maintaining their trademark sound. The traditional heavy metal influences are stronger on this album than any they have done before, as well as keeping with the spirit of old Venom and Bathory. Demonaz, as usual, contributed all the lyrics for this album, and it is easy to see that he was much more involved this time as the lyrics are some of the best in Immortal's career. He also played a part in some of the song arrangements.
The album erupts from the silence with the song "One By One". The riffs are very thrashy and this kind of sounds like a more successful version of what they attempted on Blizzard Beasts. Everything sounds much more natural on this album, rather than seeming forced. Also, Abbath's vocals seem to have recovered from whatever affliction that they suffered on the previous album. The songwriting has a nice, old school feeling to it, while Horgh's drumming is simplistic when needed and inventive enough to keep things from sounding stagnant at any point.
The title track begins with an interesting drum intro that precedes some of the coldest thrash riffs ever written. Somehow, the band manages to keep such an atmosphere of frost, no matter how they choose to approach the music. The slower sections truly freeze the blood in your veins, as the thrash transitions to open-arpeggios and then to fleeting tremolo parts. It all flows so effortlessly. Abbath's vocals channel the grim essence of a battle-worn troll. The brief lead solo, near the end, is also a nice touch.
"Tyrants" is a dark, mid-paced epic. The melodies are very memorable. Near the middle of the song, there is more use of open-arpeggio riffs, followed by a calm acoustic section. The feeling is cold enough that you feel you have been encased in a block of ice. This serene atmosphere is interrupted by a scream that is accompanied by tremolo riffs and double bass that serve to carve you out of the ice, leaving you to lay on the frozen ground, gasping for air.
The next song is "Demonium", beginning with more furious riffs that have become synonymous with Immortal. The spirit of Battles in the North is quite strong, here. After a couple minutes of this blistering assault, the song takes on a different tone. The songwriting is very skilled, as they manage to take the listener on some sort of journey with each outing. Nothing is awkward or out of place.
"Within the Dark Mind" starts out kind of mid-paced, keeping an utterly cold feeling with the guitar riffs. The vocal delivery perfectly captures the grim and diabolic nature of the lyrics. This song conveys a deep desire to see the sun forever extinguished, as shadows creep over the frozen landscape, swallowing the world for eternity. The latter half of the song sees limited bursts of the more typical barbaric pace that Immortal is known for, which strongly contrasts the atmosphere created up until that point, allowing those moments to make more of an impact.
Bitter cold guitar riffs begin the song "In My Kingdom Cold". Open-arpeggios quickly transition to thrashier moments, before flowing into icy tremolo riffs.
"Antarctica" tells a tale of the frozen continent moving and spreading across the world, taking all under its icy dominion. It may not be very Nordic, yet this subject matter could not be more fitting. The song begins with a very eerie synth intro, accompanied by the sound of frigid winds. The riffs have sort of a somber tone, though heavy enough to represent the massive glaciers depicted in the lyrics. The keyboards from the intro seem to continue on, flowing beneath the surface, adding to the dark and epic feeling. Near the end, the song becomes very still and calm, as the bass rumbles beneath the acoustic section, with Abbath's dry croaking.
Sons of Northern Darkness is brought to its conclusion with the majestic epic, "Beyond the North Waves". This reaches back to the earliest days of Immortal, being somewhat reminiscent of "A Perfect Vision of the Rising Northland" in all its glory, having a similar feeling to Viking-era Bathory. The song begins with the sound of waves gently crashing against the side of a ship. For anyone that has sailed across the North Sea, you know the cold purity of those waters. This feeling is evoked by these sounds. The accompanying acoustic guitar sounds almost as if it was recorded under water. The guitar riffs crush you with their frozen might. This is slow and mid-paced, engendering the sense that one is being taken on a great journey. The brief tremolo riffs that blow through, like winter winds, chill your flesh. Lyrically, this may be one of the most powerful pieces in this band's history. Rather than the mythical realm of Blashyrkh and tales of fantasy, this song remains rooted firmly in actual Norse history and pagan ideology. The open-arpeggio riffs, in the latter half of the song, truly envelope you in the cold and dark waters of the North. The clean, spoken part only adds to this utterly epic atmosphere. The solo that follows captures this feeling, perfectly. The lyrics serve as a proper epitaph for what may very well be the climax of Immortal's musical career. It is quite fitting that the last song on their final album leaves you in such an awe-inspired state.
The album erupts from the silence with the song "One By One". The riffs are very thrashy and this kind of sounds like a more successful version of what they attempted on Blizzard Beasts. Everything sounds much more natural on this album, rather than seeming forced. Also, Abbath's vocals seem to have recovered from whatever affliction that they suffered on the previous album. The songwriting has a nice, old school feeling to it, while Horgh's drumming is simplistic when needed and inventive enough to keep things from sounding stagnant at any point.
The title track begins with an interesting drum intro that precedes some of the coldest thrash riffs ever written. Somehow, the band manages to keep such an atmosphere of frost, no matter how they choose to approach the music. The slower sections truly freeze the blood in your veins, as the thrash transitions to open-arpeggios and then to fleeting tremolo parts. It all flows so effortlessly. Abbath's vocals channel the grim essence of a battle-worn troll. The brief lead solo, near the end, is also a nice touch.
"Tyrants" is a dark, mid-paced epic. The melodies are very memorable. Near the middle of the song, there is more use of open-arpeggio riffs, followed by a calm acoustic section. The feeling is cold enough that you feel you have been encased in a block of ice. This serene atmosphere is interrupted by a scream that is accompanied by tremolo riffs and double bass that serve to carve you out of the ice, leaving you to lay on the frozen ground, gasping for air.
The next song is "Demonium", beginning with more furious riffs that have become synonymous with Immortal. The spirit of Battles in the North is quite strong, here. After a couple minutes of this blistering assault, the song takes on a different tone. The songwriting is very skilled, as they manage to take the listener on some sort of journey with each outing. Nothing is awkward or out of place.
"Within the Dark Mind" starts out kind of mid-paced, keeping an utterly cold feeling with the guitar riffs. The vocal delivery perfectly captures the grim and diabolic nature of the lyrics. This song conveys a deep desire to see the sun forever extinguished, as shadows creep over the frozen landscape, swallowing the world for eternity. The latter half of the song sees limited bursts of the more typical barbaric pace that Immortal is known for, which strongly contrasts the atmosphere created up until that point, allowing those moments to make more of an impact.
Bitter cold guitar riffs begin the song "In My Kingdom Cold". Open-arpeggios quickly transition to thrashier moments, before flowing into icy tremolo riffs.
"Antarctica" tells a tale of the frozen continent moving and spreading across the world, taking all under its icy dominion. It may not be very Nordic, yet this subject matter could not be more fitting. The song begins with a very eerie synth intro, accompanied by the sound of frigid winds. The riffs have sort of a somber tone, though heavy enough to represent the massive glaciers depicted in the lyrics. The keyboards from the intro seem to continue on, flowing beneath the surface, adding to the dark and epic feeling. Near the end, the song becomes very still and calm, as the bass rumbles beneath the acoustic section, with Abbath's dry croaking.
Sons of Northern Darkness is brought to its conclusion with the majestic epic, "Beyond the North Waves". This reaches back to the earliest days of Immortal, being somewhat reminiscent of "A Perfect Vision of the Rising Northland" in all its glory, having a similar feeling to Viking-era Bathory. The song begins with the sound of waves gently crashing against the side of a ship. For anyone that has sailed across the North Sea, you know the cold purity of those waters. This feeling is evoked by these sounds. The accompanying acoustic guitar sounds almost as if it was recorded under water. The guitar riffs crush you with their frozen might. This is slow and mid-paced, engendering the sense that one is being taken on a great journey. The brief tremolo riffs that blow through, like winter winds, chill your flesh. Lyrically, this may be one of the most powerful pieces in this band's history. Rather than the mythical realm of Blashyrkh and tales of fantasy, this song remains rooted firmly in actual Norse history and pagan ideology. The open-arpeggio riffs, in the latter half of the song, truly envelope you in the cold and dark waters of the North. The clean, spoken part only adds to this utterly epic atmosphere. The solo that follows captures this feeling, perfectly. The lyrics serve as a proper epitaph for what may very well be the climax of Immortal's musical career. It is quite fitting that the last song on their final album leaves you in such an awe-inspired state.
(12 Feb. 2009)
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