When Swedish black metal act Mörk Gryning folded back in 2005 I was massively disappointed, and I mean that. I felt betrayed that a band I had followed since their debut had decided to give up despite releasing four exceptional and truly different albums with the self-titled album following posthumously later that year of the split. One can never associate this Swedish act with sticking to familiarity as every single album was totally different to the previous one yet retaining the core elements that made the band Mörk Gryning who they were. From the obliterating debut ‘Tusen År Har Gått’ to the progressive experimental ‘Pieces Of Primal Expression’ this Swedish act was in a league of their own. When the band reformed in 2016 I was utterly stoked that new material would be on horizon but it has taken four very long years for that to materialise as now I am sincerely hoping that I get a chance to see the band live for the first time having never had the opportunity before.

When you get an album to review by one of your favourite bands there is always a level of nervous apprehension as to what to expect as 15 years is a long time since the self-titled as musicians can change considerably over that period of time. What Goth Gorgon, Draakh Kimera and Avatar have constructed here is staggering, there is no other word for it. The scathing, incendiary assault that is wielded during this album is breath-taking and that includes the segue pieces that are interlaced into the fabric of the album as opening haunting intro piece ‘The Depths Of Chinnereth’ with its monastic voices, backing noise leads into the slicing corrosive riff of ‘Fältherren’. The pristine blasting produces a crystalline vitriolic violence that thrusts forth with unmitigated ferocity, before contrasting with the surreal acoustic phrasing that intercedes midway.

The wrath continues with ‘Existence In A Dream’ as a loose double kick rampages initially before the song explodes with one of the most caustic riffs you’ll hear this year with the subsequent blasting onslaught. Added to this is the bands unique ability to inject everything with shimmering melody as the song unveils its cool catchiness via the double bass sweeps but also the abyssal tempo change with acoustic guitar work again. ‘Infernal’ has an inauspicious start, a nonchalant blast beat before yielding for a sublime riff that is wholly infectious and melodic, possessing a slight deathly flavour in its density before swerving into their trademark hook saturation.

After those annihilating three tracks things calm down somewhat for ‘A Glimpse Of The Sky’ which pursues a far more laid back aura, brandishing a pagan like stance with cleaner vocals in parts as the song sees a steady intensification towards its conclusion. The acoustic riposte that follows is beautiful, suffused in melancholy but strangely uplifting too as it smoothly flows into the fade-in of ‘The Night’. The piercing guitar opening is quickly dispersed by the scraping guitar riff and accompanying blast attack that possesses a feral quality alongside the intrinsic melodic hook. The isolated guitar work that opens ‘Sleeping In The Embers’ is thoroughly bereft, offering a slower contrast again, with atmospheric toning and cool dramatics through the keyboard additions and scintillating melodic guitar work.

After the desolate sorrowful interlude of ‘For Those Departed’ the album reasserts with ‘Without Crown’, another slower morose tune that is drenched in atmosphere as the bands hallmark of infecting their songs with memorable hooks appears again before the song ratchets up the pace with double kick switching. However my favourite song is ‘Black Spirit’, an absolute crowning black jewel on the album that oozes class with an ominous atmospheric opening and guest haunting vocals by Laura Ute which harness a slight Middle Eastern tone before a glacial secluded riff filters in. As the drum fill enters the fold you feel the tension building, a palpable aura that breaks for the opulent violence of the riffing and soaring vocal that are utterly astounding, as I can only compare that brief section to the likes of Heilung, That leaves the album to close with the sombre ‘On The Elysian Fields’ a morose piano piece of music with a funereal tone that book ends with how this album opened and leaves you in no doubt that ‘Hinsides Vrede’ is emphatically extraordinary and gets the rare full marks.

(10/10 Martin Harris)

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