Hjemsøkt is a black metal band from Norway, who hit the scene last year with their debut EP “Mystikk og mørke.” A year later, they return with their full-length debut album “Om vinteren, på en sort trone.”
The band describes their style as “Ethereal Misantropic Black Metal.” I definitely think that is a great way to describe the album. Oftentimes, it fully embraces the more abrasive side of the genre by offering fast songs, searing riffs, and vicious blackened screams. However, that only tells half the story. This album is also filled with many atmospheric/ethereal moments that showcase the band’s willingness to step outside the box.
The band embraces their dynamic style right out of the gates with the first song, “Døden hersker blandt fjord & fjel.” The clean instruments and chanting begins the song on a surprisingly different note than I would have thought. This part flows nicely so nothing feels forced when the black metal kicks after the 1:36 mark.
The song spends the next few minutes pouring gas on a fire, the flames rising to extreme heights. After the halfway point, around 3:15, subtle, ghostly tones pepper the soundscape. It pairs well with the furious rage the band simultaneously releases. The distortion fades out and more clean, and intricate, clean guitar arrives before the song finishes out in an extreme way. Adding in these little details, these moments that catch me off guard even as they make sense in the context of the song, are what make the album so good.
It would be easy for the band to rest on its laurels and throw the rest of the songs on autopilot but each one offers something new and none of them follow the same path or structure. Case in point is “Forhekset av en blek & ensom måne,” a song with a strong backbone and damn near unstoppable. At first listen it sounds like just another ultra speedy black metal song. However, as I listened more, the subtleties of the song opened up and its mysteriousness revealed itself to me. The bass is one of those elements that floated through the veil of my understanding—it’s melodic and differentiates itself from the wall of sound generated by the guitars. The slow to mid-paced parts of the song are a welcomed addition, it adds a little breathing room between bouts of aggression. The drums, especially after the halfway point, are groovy and more catchy than they have a right to be.
How effective would misanthropy be without streams of depressive, melancholic textures? “Dødens øyne,” is loaded with sullen atmospheres and a certain despondence that adds just the right flavor to the song. The clean vocals go on a long way in helping with this and the bass too. The guitars are groovy but not overly–just enough to help position themselves to provide a twist to the mid section, with clean instruments, chants, and blackened howls. As the carnage ensues, the atmospheric elements creep back in and continue on as the distortion fades out.
The final song, “Vinterkveld i trollfjell,” ends the album on a high note. The guitars, and the opening scream, set a tone of urgency that is as infectious as it is hectic. The bass and drums are a very convincing team here, keep the balance between melodic subtleties and the affinity for black fucking metal.
Hjemsøkt’s “Mystikk og mørke,” is a solid black metal album that steps out of the box but in an organic way that makes the overall sound seem more rich and full than a lot of blackened releases I’ve heard this year. Despite that, it’s still zeroed in on the genres more anti-everything perspective—this album will satisfy a variety of fans.
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