Atmosphere and intensity and much black metal can be expected on this, the fourth album from Norway’s Vredehammer. Let the nightmare begin.
The sinister and darkly orchestral intro over, a thunderous metal wind blows up. The drums pound mercilessly. All roads point to darkness. The guitar riff is menacing and intimidating. The vocals are imperious and match the driving rhythm of “From the Abyss”. Into the abyssal void we go with a spooky guitar section. The venom cranks up once more. The thick clouds return, and an imposing and malevolent atmosphere prevails to the end. Thunderous sounds crash down upon like heavy waves. The pace picks up and the whirlwind of “The Joker” is upon us. It’s not pleasant out there but it’s exhilarating and powerful. The vocalist enunciates instructions. The guitar is like a chainsaw. “I’m not afraid” growls the voice in the background, defiantly. Maybe so. This weighty music is not for the faint-hearted. “The joker bears the crown” growls Per Valla. It’s like being in the middle of heavy artillery. The black metal takes on a thrash element as the title song blasts down on us. Heavy and heavier is the song. Drums trigger amid the wall of sound. A break occurs. The guitar plays. The drums signal the onslaught. The passage which follows is full of excitement and danger. There’s an element of Enslaved about it, with the added haunting vocal piercing the air behind the intense instrumental firepower. Vredehammer are on the attack.
“The Dragons Burn” is harsh and typically powerful. The sound is intense, stifling even. This is warmongering. The guitar and drums then create another ferocious blast of air on “Blood of Wolves”. The guitar guides along a menacing path as Valla adds his silky roars. From what was already a musical interpretation of destruction an explosion occurs and the atmosphere intensifies even further. “Death Becomes the New Day” starts electronically. Soon the war machine kicks in with the sound of an alert behind it. The progression is impressive. Vredehammer never stand still, but constantly develop the dark atmosphere by creating and integrating new musical scenes of horror. It’s intense and uncompromising in its attack. It can be dramatic too – the electronic orchestral background, which is used sparingly on this album, creates this effect on “Product Human Slave”. The sparks have never stopped flying and “Obliterator” is no exception. This piece of black thrash lays waste to everything around it. The instrumental work is as ever dynamic, forceful and skilful. It’s as black as pitch but above all it’s exciting.
The heaviness which dominates this album is used to great effect. Each piece is atmospheric and constructed in such a way that we are weighed down and hemmed in from all sides. “God Slayer” is one of those albums where the technical work is of the highest order while at the same time it’s a pleasure to be put through the mill.
(8.5/10 Andrew Doherty)
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