I must begin this review by stating that “symphonic” black metal is not my thing. In fact, I can sum up my general attitude to the genre with an analogy to the latest ‘Snow White’ film, which I sat through at the weekend. Whilst aesthetically there was plenty of nice cinematography (and a couple of beautiful women to enjoy looking at on-screen), quite simply, there wasn’t enough dwarf time. What we got instead was inconsequential characters and a predictably dull script. If we exchange ‘nice cinematography’ for ‘highly polished production’; ‘dwarf time’ for ‘tangibly heavy moments’; ‘inconsequential characters’ for ‘faaaaaar too much keyboard’, and ‘predictably dull script’ for ‘pompous self-indulgence’, then there you have my main reasons for never getting into this form of music. Despite all this, I will attempt to do these Norwegians, Kråke, justice.

According to the press release, Kråke means ‘crow’ in their native tongue – an intriguing enough start. My initial question before pressing play was whether the album might sound like either Emperor (with symphonics incorporated skillfully into the music) or Dimmu Borgir. Once the intro is done, it’s immediately clear that Kråke’s aim is in line with the latter’s 00s output; producing big, filmic soundscapes. Where they perhaps differ is in the more mid-paced emphasis on song writing and the vocals, which have a lower, death metal rasp to them. Among the ethereal, haunting swathes of keyboard in the first couple of songs, there are some heavy riffs and pounding drum patterns to drive along an underlying sense of melancholy. Although there is no direct comparison, somehow I am reminded of Samael’s masterful ‘Ceremony of Opposites’. By the strangely titled ‘Ed’, which sees the first concerted blasts of the record without full-on keyboard accompaniment, I’m actually beginning to consider Kråke as a very different band to what I expected. Featuring some varied black metal guitar work, the melodic strumming at the end of this track contrasts particularly well with the subsequent heavy, driving force of ‘The Great Leviathan’.

In general, the symphonics, whilst prominent in the mix provide atmosphere rather than an annoying blot. A purely subjective exception might be the beginning of the Cradle-like ‘Beneath Black Waters’, which kicks off with a winding organ run. Although things soon move on and at one stage there’s a biting section of blasting black metal. As the record progresses, my attention – rather unexpectedly – is held, and my mind goes back to that earlier Samael comparison, however tangential it may be. The atmosphere throughout attempts to convey the beauty and mythos inherent to the band’s homeland, and this is encapsulated no more than on the magisterial, mournful ‘Snowfall’. Now there are few bands I have come across who succeed in evoking the profound quality of nature in music, and this track – with its ‘dramatic’ keyboard – is perhaps the only one I find to be over-blown. ‘I Ly av Lyset’ comes last, and re-channels some of my earlier enthusiasm. Guitars emerge, sounding something likeSodomuntil the track proper begins, and a very large Satyricon influence appears in Kråke’s music – particularly in the guitar work and vocals. Though don’t go hoping for any ‘Among the Weirdcong’/’Mother North’-type madness.

All in all, Kråke is not the band I expected it to be; their music is very symphonic yet they make sure that the power of metal compels them. Aside from the odd gripe I have with a couple of aspects mentioned above, ‘Conquering Death’ is a very accomplished debut album. On headphones it sounds particularly impressive and although 55 minutes long, the time generally flies by in a flood of enjoyable epic-ness. Fans of the genre are sure to revel in what this band has created, and considering that a symphonic philistine like myself appreciated it, they must be doing something right. Unless I’ve just gone insane. On that basis…

(7.5/10 Jamie Wilson)

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