Translating this Norwegian band and their album title into Devil – Possessed By The Moon And Night, this act equates to some form of black metal super group comprising members from Nettlecarrier, Koldbrann and Kvelertak, and boasting one Dirge Rep on skin pounding duties. Resolutely steeped in the nostalgic 90s black metal scene Djevel holds aloft the bitter glowing ice shard that was the blasphemous black metal scene that people like me still hold very dear to our cold, black and grim hearts. If you compare the modernised black metal outfits to that of the 90s there is a stark difference in ethos and image with corpse paint virtually becoming a parody of itself compared to the elitist and enigmatic scene it once was. This is not a criticism per se, more of an observation and Djevel are an act that infuses energy into that ice shard to spur forward through a couple of albums exude the confidence and stoic blackness the scene once had before it became trendy of sorts.
This second album flows smoothly from the debut with the band residing steadfast in retro blackness that kicks off with the title track. The ghastly glass shattering and throat shredding scream is companioned by a speed like savagery courtesy of Dirge Rep. There is underlying melody in Djevel’s music that is extremely welcomed and instead of simply battering the listener with endless blast beats the insertion of melodic segues is excellent and similar to the likes of Frostmoon Eclipse. “Aapne Kister Og Tomme Graver” has a cruel old Gehenna riffing style with a permeating bitterness that freezes your blood as it courses slowly through your ravaged veins during “Marefar”. Even the slower melancholic pace is skin crawlingly terrifying as each riff is deeply transfixing and hypnotic. The wonderfully eclectic interlude “Blant Fjell Og Falne” is exquisite and breaks the album neatly and succinctly before “Stjernesluker” which whilst possessing a similar structure overall with abrupt but supremely executed time changes.
There are obvious hints of old 90s black metal acts who do not need naming for the sake of it as the album moves into the closing epic of “Saa Tok Alt Slutt”. The riff this tune has is thoroughly absorbing, with a floating hook that will embed in your memory for a very long time, just like those tunes from the early 90s. The speed is blasphemously intense, with a barraging snare and double kick softened by the underlying guitar work. The vocals are theatrical, almost acted with variations in tone creating a visionary song with sonic melodramatic overtones. The drop in pace is expected but works excellently as the droning riff burrows into your skull like that ice shard. The tune boasts clean vocal chanting that work very well and was totally unexpected. I couldn’t help but give a wry smile during this song, as the band has crafted a black metal album that whilst modernised in terms of production is steeped in 90s nostalgia and sounds crisp and fresh.
(8.5/10 Martin Harris)
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