A feast of both clear and opaque cinematic visions is promised on this third album release from Finland’s Vargrav. With two members of Moonsorrow and a vast number of projects among the four band members, it’s not surprising that this album promises a lot. Undoubtedly this is black metal but with symphonic trimmings. It’s interesting to note that comparison is being drawn with Covenant’s “Nexus Polaris” album.
“Moonless Abyss of the Nighthold” sets the scene with its mysterious atmosphere, laid out through dark classical tones. The action begins with the fast and swirling symphonic black metal sounds of “Through the Woods of Breathing Shadows”. As the frenetic pace dies down, I am reminded of early Dimmu Borgir. The spoken word is used to enhance the fear that this symphonic battery represents. It’s like a walk through menacing woods. “Chalice of Silver Blood” starts in a more imperious tone. Enveloped in a sinister tone, the song progresses in a measured fashion but with thunderously heavy drums. A funereal tone is struck in a mystical atmosphere. “Gloria Satanas” utters archetypal black metal vocalist Graf Werwolf von Armageddon. The blast of “Thy Imperial Malice’ is followed by the spooky atmospherics of “Curse of the Plaguewood Lake”. Predictably the fire and sparks return with “Encircle the Spectral Dimension”. What this does not lack is intensity as Vargrav, with the symphonic tones ringing, launch into a ferocious instrumental and vocal attack. A spoken section appears towards the end – it’s in keeping with the mood but a bit clichéd, I thought. By contrast the overwhelmingly dark start to “Triumph of the Nightbringer” demands attention. A war like drum and a chorus tell us that terrible things are happening out there. The chorus lingers as symphonic sound as Graf Werwolf guides us through the darkest territory, matched by the instrumentalists. Symphonic metal tends to be pompous, and this is no exception. “Triumph of the Nightbringer” is heavy and deeply atmospheric.
Another of those short and spooky interludes follows. “Into the Shadow Crypts” reflects horror and mystery with its waves of indistinct and suggestive sounds. I knew to expect an explosion of black metal after this atmospheric piece, as this is the pattern, and sure enough “The One Who Lurks Beyond the Starscape” comes out blazing at us. At one point I thought I was listening to the theatrical story telling of Carach Angren. It is an impressive and forward-driving symphonic black metal piece to be sure. Drummer Baron M. Tarwonen gives it large once more and the intensity is high. We’re on the home stretch now and another blasting, high-intensity slab of symphonic black metal darkness follows with “A Dark Consecration”. Graf Werwolf’s delivery recalls Immortal. The song takes a welcome turn at the end, building an epic atmosphere through symphony but not in such a way that it deviates from the mood of the song. The spoken word enters the next attack “Creator of True realm”. Its introduction inspires a surprising rock guitar solo – it’s good and because it’s good it’s not wholly out of place. With the alternating spooky instrumentals and the symphonic black metal charges, I had long since given up on trying to find continuity in this album. Spooky, stormy classical and other random sounds signal the start of “Ghostlands”. So it goes on, taking us through a sinister-sounding wonderland for the final nine minutes.
I liked the expanse of this album. The black metal is fiery, and the keyboard-inspired symphonic touches help to add an air of evil. The eerie and atmospheric interludes are interesting but if they are related to the rest of it, well it passed me by. As a whole it was a strange affair. The strengths of “The Nighthold” for me were its intensity and menace, and I did enjoy it, as I’m sure anyone would with a liking for atmospheric symphonic black metal with dark classical touches.
(7/10 Andrew Doherty)
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