from the North Italian label and first by mysterious Morkavind, mainman
and thinker behind this one-man project, helped only by sessionists
Necurat and Kaiser Walpurgis. Only 31 out of the 50 copies
are left; that already makes the product a real collectors' item, and
what's more the rather peculiar style of the debut, which uses English,
German and Norwegian in the titles and lyrics of these 12 tracks.
The music ranges from mystical dark pieces with piercing screams such
as "Mitt Fallende Tårn" to Black/Thrash ones with savage
screams alternated with other declamatory vocals, some of which with
a Viking edge are overdubbed in the background ("Fedreland").
"Silver Cursed Axe" is pure War metal, but it also
includes a break sodden with suffering and despair, expressed by Doom/Black
riffs which the low-fi recording gives more fascination to. Eccellent
the use of a blast after an H-bomb burst. This ain't kamikaze metal,
it's metal inciting to fight even as the enemy is plainly stronger or
numerically superior so as not to be enslaved. The Grim Reaper doesn't
scare anymore, death is seen as a natural evolution and just a deliverance.
The acoustic intermezzo of "Et Klar Overveielse Oyeblikk"
gives a little respite in order to prepare us to the growing corrosion
of "Purity Resides in Blood", while "Satan
Summoning the Rebel Angels" stuns owing to its sulphureous
tribal malignity. In theory the paroxistical violence in "Betrakt
meg medd Fortidens Oyne" would make of it a quite involving
song, yet unfortunately the mixing is wrong in several parts, and that's
"All har wært mistet" is a symphonic instrumental composition
ruined by opinable whines, whereas "In the Age" blends
brutal and acoustic passages; once again a very bad mixing invalidates
Remarkable is "A Perverse Last Verse", shooting blasts
on blasts from beginning to end, except few final seconds veined by
a well-guessed melodic and whispered ending, followed by "Den
Folgende Dagen en Heks' Bålet", a fairy-tale interlude devoid
The real demise is constitued by a ghost track, seemingly born from
a satanic malfunction in the synth, generating layers of deeply disturbing
Perhaps the style isstill a bit unripe and certain songs should contain
less repetitive structures (central part of "Fedreland"),
but most of the songs turns out to be suggestive and original, with
the exception of the ends of almost all tracks, too similar to one another
as they all fade out the same way.
With more concentration on the songwriting and mixing, the new material
could sound extremely interesting, therefore I recommend to take a good
listen to a couple of tracks of this debut instead of buying the pig
in a poke.
MARKUS GANZHERRLICH - 20th July 2005