Dodheimsgard Dodheimsgard was the formation of Aldrahn and Vicotnik, two members of the Norwegian black metal realm. With assistance from DarkThrone drummer Fenriz on bass guitar, the debut Kronet Til Konge was released on Malicious Records in 1995. The music is fairly standard black metal of the Norwegian variety. Dodheimsgard execute the raw, primal and ugly elements of this form of expression and indulge without apprehension or concern for progression. There is no attempt to revolutionize. There is no experimentation or enhancement of traditional stylistic values. The work is simply an immersion in blackened sonic desires. Kronet Til Konge succeeds as a fulfilling listening experience despite this intentional disregard for innovation/progression. This is because the members of Dodheimsgard possess a clear and focused understanding of black metal’s sonic and thematic essence. As with any good black metal work, the music creates and sustains an atmosphere of thick, suffocating darkness and expresses a charged and passionate agony. Aldrahn’s vocals are agonized screams of existential torment and frustration. His expression carries an earthy deepness that differs from the typical high-end banshee screams and troll croaks commonly associated with the genre. Perhaps one of the most underrated vocal performances in the history of black metal recordings, Aldrahn’s voice is possessed with a dark and hateful determination. As the music mostly races past in a blackened blur, Aldrhan’s vocals become the central focus in terms of individual performance. Without such a convincing and passionate representation this music would lose a significant amount of appeal. With the knowledge and acceptance that the album does not aspire to broaden black metal’s stylistic horizons, the listen can be a rewarding one. In a sense, Kronet Til Konge represents everything that black metal should be. Its soul is blasphemous and misanthropic, and its expression is thick with blackened passion and torment. Atmospherically, the music reflects a damp, dark cave of unforgiving coldness. Most importantly, the effects are sustained for the work’s duration, allowing for a consistent presence to be established. It is not one of the greatest black metal recordings of all time. However, it succeeds in convincingly expressing and satisfying the desired emotional and atmospheric aspects of this style of music.
Tracklisting
Dodheimsgard Dodheimsgard’s second recording, Monumental Possession, finds the collection of Norwegian black metallers turbo-charging their standard yet effective brand of traditional black metal with a lethal dose of vintage thrash. As with the debut, Kronet Til Konge, there is no effort to stretch the boundaries of this form of metal music. This is a burning display of ferocious misanthropy. There is no concern for providing the listener with a dynamic listening experience. This is a purging of spiritual and mental anguish from beginning to end. The music is delivered with an increased intensity as compared to the debut, yet, like said debut, it is once again the vocal performances that provide the highest level of impression. Aldrahn is again convincing in his anguished desperation, yet the vocals are now split between three members, with Vicotnik’s tortured gremlin croak carrying the most disturbing, alarming and penetrating effect. The grim wretchedness of his tone is beyond that of most, if not any, black metal vocalist. Musically, there is nothing on offer that can be described as phenomenal, not for any lacking of ability from the musicians involved, but rather because the material does not particularly demand such instrumental flexing. Guitars are a blend of traditional black metal and thrash riffs, while the rhythm section simply lays a (usually furious) foundation for the attack. Though the material is both sonically and emotionally rewarding, it does not reach the magnitude of black metal's greatest works. This is because, though the music is satisfying during the listening session, its effects fail to resonate once the session has concluded. Unlike classic black metal artists, the work of Dodheimsgard, for the first two releases at least, does not maintain its grip on the soul of the listener after the album has ended. This is what separates Dodheimsgard from an Immortal or an Emperor, and what keeps them from taking a place alongside the genre's more exceptional acts. It must be stressed that Dodheimsgard are not aspiring to alter the soundscape of black metal tradition. The individuals who comprise the unit (Aldrahn [Thorns], Apollyon [Aura Noir, Cadaver, Inc.], Vicotnik [Ved Buens Ende…] and Alver [Emperor]), are veterans of the Norwegian black metal scene and have each been involved in projects which have sought to expand or manipulate black metal’s standards in some fashion. The purpose for the existence of Dodheimsgard (at this moment of their career at least) is to revel in the blasphemous and hateful indulgences of black metal, and do so by way of a fairly standard approach in terms of musical construction. However, this is not Kronet Til Konge part 2. The extremity has been intensified and the variety of vocal approaches, the interjection of thrash riffs and rhythms and the thicker production contribute to taking the original vision to the next level. The environment has moved from the obscurity of blackened, cold Norwegian forests to the torture grounds of hellish torment. Therefore, Dodheimsgard's music now burns rather than freezes, and it's left up to the listener as to which of the two forms of suffering is most appealing.
Tracklisting
Dodheimsgard discography Kronet Til Konge (Malicious, 1995) |
