Whilst Hollywood are not calling yet, one can only wonder about a skewed biographical film about the musical anti-hero at the helm of Shining. “We Need To Talk About Kvarforth” is an intriguing idea about the debauched misanthrope who has led his band through somewhat ruinous realms and as he states here “has completely destroyed my life and shattered every single relationship I have had over the years.” It’s been the downfall of various collaborators as well, many of whom have passed through its grim portal since he started submitting them to self-destruction back in the 90’s. Anybody would think he was difficult to work with and I am sure it’s fair to say he runs a bit of a dictatorship insisting things are done in exactly his own way. The facts suggest that as he realigns things for his first studio album since 2018’s ‘X: Varg utan flock’ it seems as though this album could be a sort of rebirth.
The clues are there from the resetting of the album title to yet another new label, Napalm in this case and almost a completely new set of cast members. Returning to the fold we just have long suffering guitarist Peter Huss who is joined by Charles Hedger of Mayhem also guitar, A Impaler aka Alex Friberg on bass and heavy-hitter Nicholas Barker on drums. The latter should certainly need no introduction and has since the recording sessions not exactly come out unscathed himself (see gofundme link at bottom of review).
Despite all this it is immediately evident on first play of ‘Shining’ that the album does not see anything in the way of stylistic shifts of sound. All the tropes and nuances we have come to expect from the outfit are there to immediately worm their way parasitically into the brain and work in a symbiotic relationship with the listener. Simply put, prepare yourself for those adroit and punishing swaggering torrents into raging black darkness, counterbalanced by divine and majestic guitar melodies which are nothing short of sublime. There are also plenty of vocal parts both harsh and clean that will compel you to join in, even though versed in Swedish. Here too are the only real clues about anything conceptually for those wishing to translate the song-titles. Death naturally strikes as the muse here which probably comes as no surprise to anyone.
Having listened to the album multiple times the songs are already old friends. A couple have been released as singles and somewhat controversial video-clips. ‘Avsändare okänd’ is first and after some disconcerting sounds builds tenacious and infectious melody along with hungry snarls before abruptly downing into one of those unmistakable sad guitar harmonies which will have the hardiest of DSBM devotees grabbing the nearest box of tissues. It’s the seamless flirtation and counterpoising of two disparate styles constructed faultlessly together that makes Shining so beloved. As the death grunt is elongated into a roar and things surge back in it’s nothing short of life-affirming, paradoxically as though that may be. Fists pound, hearts flutter and the strength behind the musical convictions are impossible not to have you swept off your feet. With the exception of a couple of numbers plenty of time is given to immerse yourself in their lengths at near the ten-minute mark. ‘Snart är dom alla borta’ has slow mesmerism at start, thick bass tones, slow drum beat and glistening guitars as our storyteller cleanly emotes over it all. Danger and derangement are hinted at as we are drawn in to the shadows. Essentially you could say this is a ballad, a love letter to death ‘Soon They Will All Be Gone’ as the title translates. We are caught in its sweet embrace but aware the rage will be unleashed as it is around the half-way mark as Barker injects urgency and the vocals turn into derangement and mania. Finely tempered however this one never fully goes for the throat, playing with us a bit like a cat with a mouse as it moves into final, gorgeous keyboard sonata.
Tempestuous hostility is never that far away and the virulent strains and guitar chug of ‘Allt för döden’ sweep nihilistically in. It’s a labyrinthine track and the longest with all paces seemingly embraced from turmoil to mid-paced heaviness along with slow and enigmatic parts. Although as ever the music does the talking there is a certain amount of controversy here due to the banned from YouTube director’s cut video of the song. Let’s just say it’s a bit of a blood and sex nightmare and those feeling adventurous can also find it in the links below. Lovers of those grunted “oohs,” and ‘ughs’ will be in their element here.
The shorter tracks follow, faithfully unto death in the case of ‘Fidelis ad Mortem,’ a slow-burning exercise in devotion with clean crooning verse, soothing the savage beast. You will possibly recognise keyboard piece ‘Åttahundratjugo’ as it is based on the works of strange French classical composer Erik Satie (reading up on his eccentricities a worthwhile wormhole in its own right to fall down). For those looking for the original piece it is Gnossienne No.1. and was used to great effect in Lasse Hallström’s film Chocolat (2000).
After this particular indulgence last number ‘Den permanenta sömnen kallar’ starts with a taught and strangulating riff that is almost too long for comfort before ploughing into perdition and restless turmoil. This act of enraged malevolence finishes things off with a huge swagger, fingers held aloft in victory salute as it plummets ever forward towards damnation but not without some surprises and moments of elegance along the way.
Perhaps I got a bit carried away here but Shining seem to have that effect and there is one final thing that can’t be ignored, the cover-art. Was any personal blood shed on its composition? I’d be surprised if there wasn’t more than paint and ink used here.
(9/10 Pete Woods)
https://www.facebook.com/shiningofficial
https://niklaskvarforth.bandcamp.com/album/shining
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