SATYRICON - Satyricon

Reissue. The long-awaited eighth Satyricon album was released back on September of 2013 and it took many fans by surprise. Five years after The Age of Nero, it was obvious that the band spent time and put some deeper thoughts into songwriting, forging an album that is by no means proper black metal, or even the powerful black n’ roll of their three previous offerings. Some may dub it lifeless and numb while some others will be taken by its bleak and darkened aura. One thing’s for sure, the band took on a real challenge and came up with a very interesting result that certainly deserves attention. Let’s see why. ‘Voice of Shadows’ sets the tone of Satyricon with a slow, repetitive part that draws out a folky, Nordic feeling of grandeur, a solemn introduction for the track that follows. ‘Tro Og Kraft’ is a remarkable piece of music, a mostly mid-paced song with dark and sullen arpeggiated guitar riffs that creep up behind Frost’s thunderous pounding of the drums. Even though the album unveils itself very slowly, it is apparent that Satyr has experimented more with the guitars, constantly drifting around sections and soundscapes and creating really nice and captivating sounds and harmonies, with equally interesting vocal lines on top. ‘Our World, It Rumbles Tonight’ is another solid track, significantly quicker in tempo, fastened with scraping guitars and double bass drums that lead to an imposing chorus, as melancholic and ominous as the guitar chords that underlie it—the underscoring synths add an even more enchanting and epic atmosphere. This dark night wind rumble is soon replaced by the swaying flame that drives every beastly instinct to battle. Such is the momentum of ‘Nocturnal Flare’, which after a sluggish introduction attacks with a sharp blackened riff and Satyr’s grim snarl. This once somber trek has now turned into a nighttime expedition of the North. The next track ‘Phoenix’ it is where the controversy starts. While it remains a decent song and Sivert Høyem executes his vocals greatly, I humbly submit that such an experiment is not a fitting addition to a Satyricon album and certainly not to the overall legacy of the band. While it’s the most memorable number, it surely does not do much for the consistency of the album. The same thing happens with ‘Nekrohaven’ as well. I understand that they need a great live song with a good sing-along chorus but they already did that with ‘K.I.N.G.’ and ‘Fuel for Hatred’, and in a better way. ‘Nekrohaven’ may work perfectly in a live situation but as a studio cut, it seems rather forced and uninspired. Generally, Satyricon sees the band’s proclivity for musical exploration and evolution leading them to yet another musical path: a turn toward a more an ambient and gloomy black metal facet with relatively slow tempos. The songwriting is a combination of the simplistic, yet effective riffing they have already embraced with their latest releases and the atmosphere of the past. The changes are frequent, from tremolo picked guitar riffs to non-distorted chord progressions and back to a powerful chorus; the vocals too, alternate between harsh barks and spoken words but there is always a balance and every transition happens naturally. However, the atmospheric parts, especially the clean guitar interludes, are rarely supplemented by the drums, mostly because Frost’s approach is strictly limited to continuous double bass and fast breaks. Satyr’s vocal approach is unique and distinctive with a cold-as-stone vocal delivery that serves exactly what each song calls for, although the ferocious and passionate Satyr of old is certainly missed. There is a reason that Satyricon chose this album to bear their name: it is highly representative of their modern sound. This represents another direction for the band and although it’s far from perfect, it exemplifies an honest, authentic effort driven by pure musical vision. A direction that suits the band quite well. Record Label: Indie Recordings Style: Black Metal