In circulation since 2001 and with historic connections to Dutch black metal acts such as Cirith Gorgor and Walpurgisnacht, this album is said to appeal to fans of Ruins of Beverast and Summoning, as well as those of dungeon synth sound.

This five-track album starts with three connected pieces: Severed, Lost and Omega. The ambience is of a faraway place where it is frosty and harsh. The synth rings, providing the mist in doing so, while the vocalist pours out venom. The black metal is fiery but measured too, giving it an imperious and even epic quality. This is old school. In its style and remoteness it smacks of instrumental Burzum, especially at the start of “Lost”. The ambience is somewhat lost with harsh spoken words. As the synth continues to signal melancholic tragedy and death, the world explodes and “Lost” takes a much harsher gloomy track. Thus we waver between black metallic harshness and the suffering dictions of the vocalist. It is grim and smothered in gloom. Omega starts with tones of irrepressible tragedy before a harsh hymn commences. The organ plays a solemn tune. A voice speaks in a foreign language. The air of gloom continues. Predictably the world explodes before Ω frostily settles into its dark tale through the grey mists and further fire. Death – formless – freedom is the message. Inspiring? Not to me but I can see the intent and menace. An orchestral piece follows this trilogy. “When we have waged all our wars, we shall disappear” goes the narrative, capturing the title of the track in doing so. This gives rise to a ferocious, fiery assault. Given the style, a Norwegian track title was unsurprising and so” Skogens besvärjelse” (The Spell of the Forest) closes the album. Again orchestral, it swirls mystically and captures the atmosphere of a dark forest. It is one dimensional.

This album is atmospheric but for me inspiration was lacking. The dark electronic ambience was overridden by spoken words and growls. The scene expanded to a cauldron of black metal and reverted to a grey, monotone world with predictability and without apparent reason. “Nietig” had an old school black metal feel about it, and I liked that, but it didn’t hang together for me.

(5/10 Andrew Doherty)

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