It comes as no surprise that Norse pioneers and innovators Dodheimsgard have taken eight years between this and last album ‘A Umbra Omega.’ Even without certain disasters affecting the whole world, they would still have no doubt taken their sweet time. Starting off as a raw black metal band, they wondered into industrial black realms before going all avant-weird and experimental. Never short of ideas, the aforementioned last album was an absolute exercise in what can only be described as out-there head-fuckery. Even by their standards they presented their most obtuse and bewildering opus leaving one completely in the dark as to where they would possibly go next.
In the time between albums Aldrahn has again stepped down leaving it for founder member Vicotnik to take over as vocalist once more. They also have new drummer Ø. Myrvoll from Dold Vorde Ens Navn, Nidingr, Ved Buens Ende (live) taking the stool along with outcast survivors Tommy Guns and L.E. Måløy on guitar and bass. Presented over an epic 70-minute running time we have the somewhat daunting task of interpreting nine tracks, some of which hit the double figures. Needless to say I approached this eagerly but with caution, prepared for strange fruit and even stranger head-games but on the surface I need not have worried so much.
For a start the experimental bedlam and schizophrenia of the last album has evolved into a more cognisant template. This is a lot easier to get your head around and has somewhat gelled a lot quicker. The album themes are still heady taking in authenticity, free will, determinism and moral responsibilities; enough indeed to have one expecting an expensive trip to the psychiatrist’s couch. Musically this is all interpreted by long dreamy passages where melody is at the forefront, much of it being absolutely sublime. There are still blackened flourishes but these are more succinct. The third element is some electronic passages which are suddenly unleashed with plenty of zeal about them and all three of these factors are often in the same song. However, it flows much more naturally than one might expect and thankfully it all makes sense kinda…
From the opening calm and shiver inducing neo-classical strains of opener ‘Et Smelter’ we are set up for a ride that if anything is probably best described genre wise as progressive metal. There’s no hurry, no urgency, plenty of lush tones and carefully placed notes and rather than all out pummelling (although it’s not long before we get the first example of that) DHG are somewhat playing with their audience catching them out with gently swaying passages and capturing us in their firm and buoyant grasp. Orator Vicotnik moves between rasps to huge lofty rafter raising clean parts and don’t let that put you off, their elevation is fantastic and totally enthralling. There are also some gothic and eldritch sounding acoustic guitar parts, gorgeous thick bass runs and a melting pot of ideas such as some melodious flute-work on the labyrinthine opener. Still there are many moments that vie for attention and have you scratching your head. Why does the melody and the vocal lines on Tankespinnerens smerte for instance fire off something in my brain that briefly resembles Talking Heads classic ‘Psycho Killer?’ Closer to home however I have to admit that things are more in the vein of Arcturus than anyone else at times.
The poeticism of the verse becomes much clearer after the first couple of tracks when the singer moves from Norwegian to English. Through the foggy fever dream of ‘Interstellar Nexus’ Vicotnik reaches out and vocally gets “beneath your shadow under your skin” over a song that is likely to have fans of everything from Code to Vulture Industries in delirium. Wait till you hear the glitchy bout of electronica at the end, blissful mania circa Arcturus ‘Disguised Masters’ There’s even a few instances such as at the start of ‘It Does Not Follow’ where there are melodies that could be off an AOR track, well if it was enthused with bong hits and strange psychedelics, perhaps before they freefall into a fast flurrying bout of blackness via a wormhole in space.
‘Voyager’ serves as a line in the sand being a short piano interlude courtesy of Måløy who is responsible for the more classical strains on the album as well as bass. ‘Halow’ drifts and floats somewhat languidly by but never without intrigue, which is certainly enforced by a growly vocal parts as it builds to dramatic heights. As for the separate piece of music after you think it’s finished, totally majestic. I guess you could describe ‘Det tomme kalde morke’ as the heavyset riffer of the album having the more coruscating blackened facets of DHG of old, at least in part till it lulls and casts you adrift in a much gentler electronic enthused fashion. Shadowy worlds of the black veil and what feels like a work that could have been inspired by lucid dreaming and the borders between dimensions are investigated on ‘Abyss Perihelion Transit.’ But do we eventually find our way out of here? Make your own interpretations dipping into the video below. Finally, and as suggested we are taken out by ‘Requiem Aeternum’ into sleep forevermore…
‘Black Medium Current’ proves to be a fascinating rich tapestry of forward thinking music and one that is guaranteed to stretch way beyond the last note. Those who have followed the band since formation will no doubt be used to them bucking trends and doing things their own way. The casual observer may well find themselves somewhat bewildered and by the artistic expressions of the music but for those adventurous spirits who make the journey this could well be a future classic. Perhaps in another eight years or so when Dodheimsgard continue evolving we will know with more certainty.
(8.5/10 Pete Woods)
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