It’s been 3 years since Allsighr was released. I loved it at the time, praising its mix of 80’s metal with Sabbath and Purple grooves and scoring it 9 out of 10. I gotta admit though, I have not revisited it for a couple of years , rather going back to 2013’s Aruagint for a taste of that “Strange Pungent Odyssey”. More fool me – I am rectifying that this week by consuming all the back catalogue with gusto.
So back to the future and this new release “Endo Feight” finds Sarke firing on all cylinders as ever. A quick synopsis for those not in the know – Sarke is the project of the man who takes that name – Thomas Berglie the mastermind and bassist and on this release drums as well.. Darktrhone legend Nocturno Culto provides the voice whilst Steinar Gundersen of Khold and Satyricon’s live band plays guitar. Keys are tinkled by Anders Hunstad who does the same for Satyricon.
New line up and a different approach – kind of. The death rock days of Aruagint are gone as is the Viking theme of Allsighr. In its place is this new groovy, creepy Sarke. Nocturno Culto’s vocals have always been more speech based than sung/growled – a style that I enjoy whether it is for this project or Darkthrone. On this release he becomes a sombre narrator much like the Cryptkeeper of the old Tales from the Crypt comics/films. His words drift over the music in an atmosphere building schlock horror way that works extremely well especially with the ever present keys of Hunstad upping the B movies feel.
I gotta admit it is with said keys that I must get to the soya meat of this review. Opener “Phantom Recluse” opens with synth horns at the outset and throw me. I think I was scarred by a Casio keyboard I had as a teen and overuse of the Orchestra Hit voice but I just get a bit of a cringe at fake horns. Luckily the dark riffs and creepiness of the track lead me towards the darkness and I let go of my reticence. There is a proggy keyboard solo later but I am too far from the safety of the edge to save myself. I give in to the Bontempi Badness (other makes are available).
“Death Construction” swirls through the mist, spiky jazzy riffs followed by swathes of keyboards that drop through the floor like a hanged man’s legs. The album truly feels like a cinematic journey through another time and realm which leads to the ballad-like “Lost”. This track oozes old school Western vibes whilst also bringing to mind Laibach as N.C. narrates this tale sounding so much like Eber of the Slovenian masters. It is gentle yet strident in its approach and contains some wonderfully emotive guitar parts with gorgeous blues sections. The theme continues with “Abyssal Echoes” which begins with a guitar that sounds more Gary Moore than Nordic blackness. This soon gives way to a riff that brings back the cold bleakness of Thorns and a yet again creepy lilting groove. It feels time for a bit of oomph and that is what “Old Town Sinner” offers, it starts with a razor sharp riff then slips into an arrogant saunter like a vampiric gunslinger striding into town at sunset. “Whispered tales of dread and fears” Oh yeah! Nice rampant metal solo too.
I don’t know about you but it feels time for a space opera black prog epic – “I Destroyed the Cosmos” is here to scratch that celestial itch. Big 70’s doomy riffs and of course swathes of keys that could ruffle the cape of any Wakeman clone. It’s big and out of this world whilst managing to stay rooted in a psyche past life. Blast off! Or in fact Blast Beats as these herald “In Total Allegiance” the first Black and Roll dalliance of this album. It is most welcome and is a hark back to past albums getting me gurning and throwing out horns and orange squeezers.
So to the closer “Macabre Embrace” – a dark , doomy slink through a graveyard this has nocturnal naughtiness wrote on it large. Midnight clock style chimes and some chants and thunder. The cinematic overload is complete. Fin
This album showcases the talent of this newly assembled group around Sarke and N.C. Sure they can still Black n Roll with the best of them but there is so much more on offer here with the use of pomp and theatre. Darkly delicious.
(8.5/10 Matt Mason)
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