Narvik is a place in Norway and these Germans adopted the name in memory of musician Robert Burås of rock band Madrugada who lived and died there, taken far too young at the age of 31. His guitar work which I have not heard is cited as major inspiration for every member of Narvik (also known as NRVK) and the sound that they have translated into their brand of black metal is certainly incredibly distinctive as the majority of this their second album is a fast and furious tremolo picking ride. Also active in bands such as Ahnenkult, Carn Dûm, Werwolf and VED this trio made an instant impression on just first listen of this album which I found a real energetic rush of blistering blackness which hit all the right spots.
After a spot of sinister ambience ‘Invokes’ us into their realm the trio cut open their ‘Wounds Of Aspiration’ and let it all bleed out with sharp glistening tones unravelling and leading into their first real blistering assault. It’s fast, dynamic and highly charged with vocalist Redeemer unleashing a real bloodthirsty yell and the musicians bringing a wealth and depth of melody and transfixing me with it. ‘I see darkness in life” are the words hollered out and you cannot help to agree that this is a perfect corresponding soundtrack. Vocals are heavily enunciated and at times drawn out giving them an eccentric and unhinged feel as they gruffly bellow away. Once the rhythm has been established the band pretty much go like the clappers with the drums but the guitars when not strumming have a real strident clamour with the sharp deadly lines piercing like a dagger. ‘Geist zu Scherben’ sees the native tongue being adopted and the harsh Teutonic tones work perhaps better with the “windy” drama of the music. It reminds a bit of Dornenreich at their most metallic as well as many others; fans of everything from Mayhem, Shining (Swe) to Aosoth are going to enjoy the mix of austere vocals and precise stabbing riffs going on here.
Now the album has really got going it doesn’t let up firing you from one flailing track to the next. The urgent clamour of ‘Psychotic Redeemer’ sees the vocals getting ever more expressive and demented. The musicians employ some effective stop / start dynamics here too which make a particular impression on this track. A sense of grandiosity and malevolence prevails over ‘Fecundity Of Death’ and that’s impressive as it does so without any vocals drenching you in pervading atmosphere just by the music alone. They certainly burst out when they put in an appearance again on ‘Berstende Saulen’ though and really harangue with coarse delivery getting under the skin along with the twisting, turning music which never stands still for a second. No fat at all here, the album and everything about it is precise right down to a perfect 41 minute running time which has been perfect to draw me back for repeated listens. I’m not sure about using the words “Barren Semen” brings us to a climax but this slightly odd song title does just that and the closer has a real out there avant-garde flair about it whilst not forgetting the speed of the delivery in the slightest. This ascent has been an entirely satisfying and intriguing one, musically rich and diverse as well as extreme and uncompromising. All boxes ticked!
(8/10 Pete Woods)
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