Let it be stated that Helheim's earlier years are quite different from their more recent experimentation phase. Jormundgand, the full-length debut form 1995 is entirely scathing and vicious black metal, and its fastest, few Norse-themed albums of the day were anywhere approaching this level of aggression (perhaps Frost by Enslaved is the best comparison). The vocals of H'grimnir here provide an immediate barrier to entry, because they scream with abandon and it's almost impossible to tell at first if the guy is just kidding around. After letting a track or two settle in, you will realize he is not, and this is some seriously pissed off shit.

The opening track, "Jormundgand" itself, is an immediate thrust into the band's frenzied existence, though even here some aspects of bloodied moonlight atmosphere seek their way through the Asgardian battleplex, with a slower pace here, or some moody choir-like vocals there. There is no fucking pity for the weak, for though "Vigrids Vård" emerges at a slower crawl, the track retains all the grim darkness of the opener, it just forces it into a more digestable selection of rhythms. The drumwork is great in this track, and I love the mood set by the synthesizers just against the horizon. "Nidr Ok Nordr Liggr Helvegr" took me almost completely by surprise with its mouth-harp and female vocals, but the track does grow tiresome and repetetive until its bombastic climax. With "Gravlagt I Eljudne", Helheim return to their blasting momentum, but lack for no level of atmosphere, H'grimnir's cries like a call to carrion feeders that his entrails are ripe for the picking.

Following this, the 9 minutes of "Svart Visdom" makes for the longest track on the album (though most are beyond 7), and the track explores several tormented phases, with the screaming reaching a near pinnacle of vengeful violence. I like the slower parts of the track, when the percussion begins to thunder over the raw rhythm guitars, and the horn sounds are also quite cool where they appear. "Jotnevandring" is a passionate piano piece with some snarling above it, another early reminder that Helheim do not fear branching out their sound, and would do so to great lengths on subsequent albums. "Nattravnens Tokt" is the final track of the original record, resounding with buzzsaw, beautiful guitars and a great, loud bassline that moors it into the cresting Northern waves. If you've got the CD, then you also have "Galder", which is 3+ minutes of screaming and cursing over haunted keyboard atmosphere. Creepy, but not as necessary as the original material.

Jormundgand is a pretty intense debut offering, though few of the songs have really stuck with me. At it's finest, it mirrors and even exceeds Frost in vision and scope, but does lack the timeless energy of that masterpiece. I don't know that I appreciate the early years of this band more than the interesting turns they would take on later works, but there is no questioning the validity of Helheim as one of the founders of the avant-garde Norse extremity.

Highlights: Vigrids Vård, Svart Visdom, Nattravnens Tokt, Jotnevandring

-autothrall
http://www.fromthedustreturned.com

This was the debut-CD of the Norwegian Pagan/Viking Metal-band Helheim. And I still must say that this is one of the albums in that genre that is a must (like Enslaved's self-titled debut- album, too).

The music is very uncommon and independent, played in a rather fast way with very disharmonic guitarlines. Extraodrinary is also the use of instruments like the trumpet (especially in 'Svart Visdom') and this extremely high vocals, which I never have heard anywhere else (... maybe it is hardly comparable to In The Woods - 'Heart of the Ages') and which I adore so much. They are really cruel. The CD features five songs plus a pagan instrumental, one more classic-orientated piano song and an outro which reckons to have Odin as its originator. The songs all are about 5 - 10 minutes long with innovative structures. The production is quite clear and 'Nordic' as the album was recorded in the wellknown Grieghallen. I only can give everyboday the advice to buy this album as it still stands out of the masses of Black Metal products, and Helheim themselves didn’t reach that level with their 2nd CD again.

Favourite Tracks: Svart Visdom, Nattravnens Tokt

(Originally published in The Purgatory Of Grief 1999-2001 (RIP))

The intro to ‘Av Norrøn ætt (of Norse lineage)’, a modern neoclassical piece consisting of piano and violin, already makes it clear that this album is not just another extreme Metal album, but a highly ambitious work of art. I would not go as far as to call this album progressive, but it certainly is not an easy listen. The songwriting is stuffed with so many details that one has to pay close attention to the music in order to capture the fullness of it.

One thing that has greatly improved in comparison to their debut-album are the vocals: they are still very harsh and throaty, but much more bearable than the ear-piercing, extremely high-pitched screams they used on ‘Jormundgand’. Some clean male and female vocals are also featured, and they are welldone and fitting for the most part. The drumming is outstanding, not in the way that it is especially fast or technical, but in that many uncommon (for Metal) rhythms are used, but which always fit the music perfectly and make it even more interesting. I think Hrymr is one of the most underrated drummers in extreme Metal, he has a very own unique style, using the drums not only to play a rhythm, but also as a creative tool to add yet more depth to the music. The same goes for the bass: it is not hidden away behind the other instruments, like so many Black and Viking Metal bands tend to do, but it is clearly audible in the mix and used as an instrument of its own, with patterns that often differ from those of the main guitar-riffs. These (mostly tremolo-picked) riffs are sharp and slicing like Viking-swords. ‘Av Norrøn ætt’ was recorded at Grieghallen, which is a guarantee for great, individual sound, not too polished or overproduced, but allowing every single instrument to be clearly heard.

Helheim do not create their ‘Viking’-atmosphere by playing ‘nice sing-along boy-scout-campfire’ melodies, like some other so-called Viking Metal bands are doing, but by stirring violent emotions in the listener that make him dream that he was taking part in a bloody Viking raid. Equally, and fortunately, the lyrics omit shallow stereotypical tales of bearded, drinking, big, strong men; but deal instead with the more occult aspects of Norse mythology, conjuring obscure, apocalyptic visions. Not that ‘Av Norrøn ætt’ sounds very dark, it is rather epic and majestic, but at a very mature, sophisticated, non-cheesy level. Despite the aggressiveness of much of the music, it always stays varied. Folk-elements are present, in the form of some acoustic interludes and clean folkish vocals, and the sparse use of traditional instruments like mouth-harp, fiddle and trumpet; but they merely complement the music, the foundation of which remains firmly rooted in second-wave Black Metal.

I think that the demanding ambitions the band had for this album have been fulfilled. Released ten years before I wrote this review, this truly timeless album has lost nothing of its effect; and even more than its predecessor ‘Jormundgand’, it established Helheim as the second-most important Norwegian Viking Metal band of the mid-nineties, after Enslaved of course. And, as a bonus, we get an (unintentionally) funny band-picture on the cover, showing one of the members gnawing on a bone while the other two are clinking their mugs. But don’t let that picture fool you, this album is certainly not suited as background music for a drinking-party (you can play some Einherjer for that use…).

For anybody who thinks that Viking Metal should sound different than Folk/Power Metal with some grim vocals, this album is a must-have.

With new additions to its lineup, Terrorveldet is a prime sampling of what Helheim would grow to become: a band best known for its intense, fast-paced, and at times experimental take on black/viking metal. Atmospheric to its core, this short EP is an energetic, if not purely satisfying example of the band's standard, expected choice in style. But, it's far from perfect and certainly has its faults. Its greatest fault, by and large, is that it isn't a full product by any measure of the term. With three relatively short tracks - with one entirely an intro - it lacks substance and character on its own. It's found wanting.

The fact this EP is lacking in substance shouldn't be a sign that it's terrible. Definitely not! This album reeks quality and does a superb job of stimulating the senses. You will get drawn into the dreary, apocalyptic urgency of the Norse gods of old at the cusp of world's end. Count on it. If it's one thing that this band has adopted well from the viking genre, it's the creation of a living, breathing environment. The use of atmosphere, the infrequent yet harrowing harsh vocals, the punctuating solos and the rare use of timely sampling (for instance, a hammer hitting an anvil) help to give each track its own unique character. It's broody and violent, which works great for music building on Viking death and destruction.

All of this is complemented by instrumentation that lives up to - and in my opinion exceeds - what you'd expect for the style. Each instrument is used congruently with their own unique sounds and patterns to play off one another; in this manner, no one instrument really 'fades' into another or is obstructed or overwhelmed by another's sound. That's true for even the bass, which is clearly audible and apparent throughout the album. There's enough variation in riff structure and chord progression to keep your attention, with keyboard interludes and shifts in rhythm made to give variety akin in style to that of Windir's earlier works. That's even true of the intro, "Helheim (Part 1)," which among the tracks is the least remarkable and memorable. The clarity of the instrumentation is made possible in a production that's not too raw, not too polished and not at all artificial. Care was evidently taken to emphasize the talent of the artists.

Admittedly the structure of this EP suffers from the fact that none of the tracks fit together. "Helheim (Part 1)" as an atmospheric intro is fine, though at four minutes is not entirely appropriate for a fifteen minute album. Its length, combined with its industrial overtones doesn't fit the rest of the album. The same is true of "Jernskogen", though for other reasons: Fast-paced, and comparatively repetitive to the other tracks, it also seems out of place. The highlight is by far the last track, "Cosmic Winter", though only because it fully fleshes out its sound. It's fairly obvious that this EP is a composition of unrelated tracks which belong on separate albums. The tracks are good, but on its own this album is not.

Do I recommend this? Perhaps, though only under the right conditions. For collectors of this band's work, this album is worth acquiring. It serves a valuable historical purpose: it is, after all, the first album featuring Lindheim and Thorbjørn and you can certainly tell this album was meant to showcase what they had to offer. It's a solid bridge or stop gap; a necessity if you really wish to know - truly know - how the band evolved over time to where it's at now. Yes, I think that would make it a fair acquisition. However, beyond that and on its own it lacks the vigor of Helheim's other releases. It fails to engross and falters on its own... well... brevity and anatomy. If you want something like this, but ultimately better, you should be encouraged to obtain Blod & ild or Yersinia Pestis. This is not an obligatory work.

I got this CD due to a recommendation by a friend and to be honest, I was quite sceptical at first. Norvegian Viking Metal with Norvegian lyrics by a completely unknown band? Not usually what I listen to..

So, I gave it a listen and from the first time Blod Og Ild (Blood And Fire) was hammering through my speakers, I was interested. Evig (Eternal) following, I began really liking it and after Helheim (Part II) and Jernskogen (Iron Forest) I knew: This is one killer release!

But let me describe the music a little, although you will have to hear it yourselves in order to really get the feeling for it.
It's brutal in good Black Metal tradition, although Helheim do use keyboards, which are used to create an epic atmosphere in such songs as Evig (My favourite song on the disc). Every track, though, is very different from the preceding one which some might like, others might not. I usually don't like CDs where all songs are too different from each other so that the CD doesn't really seem to fit together, but it seems to me that this one is just perfect for that matter. Much variation but still it all adds up to one unity which is the whole disc.
Evig for instance, as said, is an epic song where one can easily imagine warriors singing it while drinking mead in order to prepare for battle. You know, it is all about that Norse stuff. Jernskogen is a straight-in-your-face brutal song that incorporates some technical elements in the beginning, Blod Og Ild is a good opener to get you used to the whole thing. Helheim (Part II) shows a completely different side as it is an instrumental that sounds very electronic, perfectly demonstrating the cold, empty and dark atmosphere that is supposed to be the Norse underworld (Helheim, obviously). In a way, every single song stands out in a way but I have to say, those above plus Odins Moy are my favourites.
Another mentionable thing are the vocals. You will either love them or hate them, I guess. It is hard to describe, but as they are very varied, rough and extremely unclean (Most vocals in that genre are, of course, extreme but they still do have some regularity in them which can become boring at times if the music doesn't compensate; not so here) they perfectly add up to that special atmosphere and I personally think they stand out compared to most bands in this genre, because they don't leave all the variation to the music.
The production is alright, I had actually thought it would be worse since Helheim probably do not have a very big budget. What I particularly like is that one does not have a hard time hearing out the bass at any time.
The last thing I would like to mention is the video clip for Jernskogen to be found both on the CD and the official website for free download. It is an amateur video, but hell, it is awesome. Get it!

So, I think that wraps it all up. I can only recommend to anyone to have this CD in their collection. If you like it, pleas buy it because Helheim really do need the support!

"Dø ung, dø hard
Til Valhall vi drar"
(Die young, die hard
To Valhalla we travel)

Ok, this album really puts me in a lot of trouble. Actually, I hate giving all releases of a band 90+ points, but this one really is better than the predecessor (Blod & Ild), so that I am forced to give it a higher rating. Thus the 95 points. Sigh.

But now for the important part, the music: When I first listened to this CD, I thought it was broken. That intro really is bloody weird, but after a few more runs in the old stereo I got used to it. And that is pretty much how it goes for the whole album, I guess. The first time you listen to a track, you might say "Uh, how did they come up with that idea?! And why am I listening to this?!"
Next time it runs through you'll think: "Wow, that's actually kinda cool. What was that track's name again?"
Until finally you realize: "Hell, I love this part. And this part. Oh, and there's yet another!"

Ok, to be honest, that is only one possible reaction, as always.. but that was my reaction to the disc. Helheim manage to develop and progress yet again, by now I am forced to think that this is what makes them so special. They release CD after CD and although each one of them sounds very different from the predecessor, each and every one of them is great in its own way.

So what's majorly different on this album? Well, remember that weird track "Helheim, Part II" from "Blod & Ild"? Guess what, Helheim incorporated those elements (well not exactly those from the song, but the kind of elements) into their "normal" music. So every now and then you'll hear some Electro-influence within the Viking Metal. Good or bad, you'll have to decide for yourself.. I for my part love that idea. Especially because it is done in a very subtle yet not pointless way.

Besides? Compared to "Blod & Ild", this one is faster. Heavier. More aggressive. Sweeeet :)

The vocals are different, not so raw anymore but still very varied. That's another thing, if you listen to all CDs fromt the debut "Jormundgand" to "Yersinia Pestis", you would think Helheim changed vocalist for every album, but it's always the same guy!

So, conclusively, if you have known Helheim before.. say good-bye to "Blod & Ild" and the rest, here comes something new, something fresh and fucking awesome. If only you're willing to accept the many changes done in style (Vocals, Electro-/Industrial-influences, oh and the lyrics are mostly English now) you will like this, hopefully.
If you have never heard of Helheim before, pick this one up. Just give it more than one listen and you'll be sure to find something great on this album. Or take "Blod & Ild" and discover the rest from there, could be that one is more accessible to you.

I had never heard from Helheim before this release and when I bought it I had serious doubts concerning this album, since I was encouraged to buy it after reading a review in the Metal Hammer mag. However those who listen to this record will not be disappointed in any way.

To begin with, let us take a look at the title: “The journeys and experiences of death”. This title highly suggests that the songs recorded will deal with matters concerning Death and thoughts surrounding this affair. If death per se is not a new concept within metal music, this is a refreshing touch for a band which allows it’s music to be classified within the viking/black genre, where lyrics concerning incarnate Viking battles and lyrics which describe how “bad” religion is and how cool the devil can be are a plague more annoying than the ones written in the old testament. Helheim explore this phenomenon (death) and describe some funeral rites with very interesting lyrics.

As for the music this one is a pretty fucking solid release. Heavy riffs provide the heaviness every fan seeks for. Furthermore every song manages to create and develop an atmosphere of its own; this allows the listener to really dive into this band’s sound.
Each one of the songs has a clearly defined structure, yet they are neither boring nor repetitive. The drumming can be defined as flawless, it is heavy and rhythmical.

The ultimate highlight from this album is “Oaken Dragons” which is by far the most elaborated song in this release. It is the song with the slowest tempo and is highly atmospheric, which enforces the lyrical theme and brings the story told to life. Furthermore the vocals in that song are very varied throughout the entire piece and add that special shit to the song.

Helheim is one of those bands to watch out for, the potential and sound to go HUGE. 2006 hasn't been the most promising year for music releases in Norway (So we have a few like Gorgoroth's new album, but not the point.) I never listened to or even heard of Helheim before this release. But fuck, with an opening song like Veneration for the Dead your first impression is Heavy as Fuck Viking/Black. Although I personally don't listen to this side of brutality within Black Metal this is definently a solid ground breaking release. The chugging quitars (which are quite impressive and unique) and in rhythm drumming is a definent up to this album but what actually makes this album fascinating is the elements Helheim have used on it, combining the Genres of Viking and Black Metal flawlessly. The vocals are nothing special but it provides to the atmosphere Helheim sets giving you an actual visualization of Viking Metal war. The production sounds as if it was made actually for Helheim. As you get further into the album you can hear what im talking about. Oaken Dragons is surely enough the highlight of this album. I don't know what that is in the beginning of the song but the sudden calm and decrease of speed and tremelo of riffs makes your spine shiver. Not too repetitive but in some way unique and entertaining, not so messy as other songs and very well put together. The lyrics to what I can understand soo far are very powerful and sets a story line along with the guitars to a battle field and their Viking ancestors long dead. I await to see what Helheim has next after this masterpiece, overall this is an incredible album and definently worth buying and listen to again and again. Perhaps even make you want to sharpen your sword and go out to war.

Norway’s Helheim have always made very individual music. Although they essentially play a viking/black metal style, there is much more substance to them that exceeds the boundaries of genres.

Kaoskult is not as fast paced as some of their previous releases. But this is certainly not a bad thing. The album opens with Det Norrone Alter which is mid-paced, has heavy yet atmospheric guitars. The typical Helheim vocals are here, raw, heavy and not over-produced. Just the way they should be. Also of not, is the return of Lindheim on the synth, this also gives the album another dimension. The synth arrangements add a small degree of melody to the album behind the heavy guitars and raw vocals.

Northern Forces, the second track and possibly the best on the album, contains an absolutely brilliant riff and also shows how you don’t need a blast-beat to make a song great. Om Tilblivelsen Fra Gapende Tomhet, is one of the quicker tracks on the ablum, and half way through the song has another great riff courtesy of H'grimnir who does the bulk of the song-writing on this album.

Another thing that needs commenting on is Hrymr’s drumming on this release. He has to be one of Norway’s best drummers, but one of the most underrated. He utilizes techniques that aren’t your average blast beat or fill. This gives the drumming its own identity within the album, rather than just being a part of the rhythm section. It really adds to the album. Song like Northern Forces and Altered Through Ages, Constant In Time are prime examples of this. Altered Through Ages, penned by V'gandr has to be one of the best songs of the album, with some memorable atmospherics and riffs along with the raw vocals, it is pure Helheim and very indicative of what Kaoskult is all about.

As for the production, it is very clear but still retains the raw elements that are necessary for a metal album. Kaoskult is certainly a very original and distinctive album. Helheim have long been overlooked and underrated as a band, but this has not deterred them in creating some of the best and most individual extreme metal out there. In an time where many albums, songs and production is all very similar Helheim stand out, above the rest, refusing to get tied down to a particular style of music.

They had always astonished us for their personality, cleverness and technical awareness, and they continue astonishing us with this “Kaoskult”, album that changes direction though without losing a single point of their big personality.

The latest album of the Norwegian band, indeed, decides to develop the most ethereal and charming side of their sound, leaving apart the performing violence and the cold approach of the two previous albums. In this sense we can explain the return of Lindheim's keys, fundamental in creating some atmosphere thick carpets that, anyway, never put the traditional instruments of the genre on background .

The main task to weave sophisticated dreamy scores is entrusted to the guitar, that often expresses in clear arpeggios that perfectly merge with the harsh guitar distortion. Just in one case, “Om Tilblivelsen av Gapende Tomhet”, Helheim remember us what their destructive potentialities with the blast beat are like, and in other cases (“Northern Forces”, one of the very few tracks in English) they adopt square rhythms that recall a certain strong heavy epic, but the general leit motiv of the album is that of a long trip within the dream of an ancestral creature. To listen with the closed eyes.

Originally written for Silent Scream http://www.silentscreamzine.com/Home.asp?Lang=ENG

Although never having achieved the same degree of popularity, Helheim may be best compared to Enslaved, not only in terms of their Viking ancestry and topical content, but also in regards to the way they have developed over the years. Originating as a fairly run-of-the- mill Viking black metal act, they have moved in an increasingly progressive direction with their sound. 'Heiðindómr Ok Mótgangr' represents another step in their career; a cleanly produced, diverse and impressive celebration of their culture.

Like Enslaved, Helheim focus their efforts on creating a vast, epic sound that attempts to capture the sound and custom of the Viking people. In this regard, Helheim are dedicated, and convey the pride of their ancestry powerfully. The album opens up with a combination of black metal canon and war horn orchestration, a pairing that pops up several times throughout the album. Arguably the greatest strength that 'Heiðindómr Ok Mótgangr' has going for it is that it takes the listener through a number of different moods and angles without sounding inconsistent or patchy. Based on much of my experience with this style, Viking bands tend to keep their songwriting narrow, composing a batch of incredibly similar pieces and drilling down one angle or mood of Viking culture until it's exhausted and begging for a coffee break. Most of the time, this 'angle' tends to revolve around the culture's penchant for warfare and alcohol consumption. I would not say that Helheim gives an all- encompassing glance into the culture- there's no reference here to the 793 AD equivalent to changing baby diapers- but the darker sound on the album is more successful at transporting a listener to what was decidedly an incredibly dark time in human history.

Helheim's production has developed with their musical style, and though black metal generally favours less bells and whistles in its production, 'Heiðindómr Ok Mótgangr' is remarkably refined. In terms of effectiveness, this is a bit of a double edged sword. The production does wonders for the more subtle arrangements such as the horn work and moments where Helheim go experimental with their sound, but the black metal feels robbed of some of its atmosphere. This does not draw away from the intensity of the music, however; the riffs are beautifully arranged and performed with vigour. Although the music on 'Heiðindómr Ok Mótgangr' rarely possesses the sort of composition quality that would thrust it into the realm of excellence, Helheim's varied approach to Viking metal stands out above many of their peers. There is anger, melancholy, darkness and light to soak up on 'Heiðindómr Ok Mótgangr', and the variety of styles only serves to give the work greater lasting value.

In these days, the tag “viking metal” scares of a lot of people because of several clowns out there that are purely making party music. This fear would be without reason as Helheim present themselves really matured, complex, and last but not least, black. Nevertheless, they are going back to the roots and present viking metal which can at least be seen in the lyrics as they refer to four of the great virtues: pride, openness of mind, vigilance, and awareness.

These virtues build the base frame and are the variations of the main theme Viten Og Mot, but these are not the only songs with thoughtfulness. Viten Og Mot (Sindighet) is the opening track and starts quite slow and droning, accentuated with the sound of a horn that can also be found in the other Viten Og Mot tracks. You cannot really describe the sound as it is really complex. Actually, you could say it is progressive. The opening track alone offers the full bandwidth of vocals as they progress from wild growls to clear vocals or even spoken passages. The whole song creates a mystic and thick atmosphere, but at the same time it is full of speed and cold genius!

The band is really skilled with their instruments and the whole orchestration is as complex as the vocals are. Every transition between two structures are really fluent and it does not matter if they progress from an aggressive passage to a gentle melody or from a simple structure into really complex stuff. The interaction between the two vocalists, V’gandr and H’grimnir, is as brilliant as usual so that there is nothing to complain about on a technical point of view.

The composition in general is as good as the orchestration is. This is because the songs aren’t just complex and progressive, but full of variation in themselves and on the whole length of the record. So they are complex and unique at the same time. The production is as clear as it could have been.

Conclusion:

Now the conclusion, as I would tend to end in adulation otherwise. If you thought viking metal is past its best times, you are clearly wrong and did not hear this record. It has refreshed the genre and it may be the best record Helheim ever released. It is difficult to describe the sound in detail as it is so complex, you should risk an ear and hear for yourself. It remains to be seen if Einherjer can pretend to the throne Helheim just mounted after they released their comeback record.
___________________________________

nilgoun for http://threnodies.com

Although their end products might bear a only passing resemblance, I've always likened the progression of Helheim to that of their countrymen Enslaved. Unafraid to evolve themselves into varied configurations, but somehow managing to retain the razor disposition of their early works (Jormundgand and Av Norrøn Ætt), these Norsemen explore sound with absolutely no concern for the whining of a reactive audience. Chances are, if you're still on board with the band after 15 years, you're expecting some mild transformation through each of their full-lengths, and Heiðindómr ok mótgang, their 7th, is no exception to this, evenly distributing its creativity through passages of strained beauty and primordial strength.

The tones manifest here are consistently voracious, with an inherent depth delivered through the searing distortion of the guitars, charismatic and percussive rasp of H'grimnir and hard, steady drumming of Hrymr. Helheim never shies away from eccentricity, and in the very first track here, "Viten og Mot (Sindhiget)" we're treated to some blaring horn synthesis and wild effects over the lead sequence, which transcends the listener beyond the mere atmospheric black metal scriptures. Songs like "Dualitet og Ulver" channel a more measured, overarching melody which creates a beautiful desperation despite its predictability, and "Viten og Mort (Stolthet)" marries brooding clean chant vocals, narrative passages and crashing, wave-like rhythms to a hypnotic success rarely heard outside Enslaved. What's more, Heiðindómr ok mótgangr never really lets up: there are great tracks throughout the entire playlist, including the ghastly mid paced driver "Maðr", the somber escalation of "Element", and thundering tectonics of "Viten og mot (Bevissthet)" with their periods of strange calm.

If you're noticing a trend in several of the song titles, that's because the album follows a loose concept of Odinist captions that inspire the listener to meet their enemies at full strength. A motivational speech from one of Asgard's finest, if you will. An interesting idea, and one delivered without the pomp you'd expect from a shallower artist like Manowar. What I really loved about this album is how strangely loyal it is to the band's roots, despite the years of embellishments in production and variation that the band pursue here. It's not an entirely perfect work, as there are a few moments where the repetition or raw composition trail off in quality, but on the whole I'd feel safe in describing this as one of Helheim's strongest to date, superior even to a number of their cult classics. Recommended to fans of Enslaved, (earlier) Borknagar, and Burzum, but that almost goes without saying.

-autothrall
http://www.fromthedustreturned.com

Helheim are now a full ten albums into their career of Viking centric metal. I remember when they arrived in 1995 with the excellent Jormundgang, with vocals so ferocious you’d think a screaming Banshee had guested on it. This was harsh Black Metal with Viking imagery only, a fantastic debut not to be missed. I’ve taken little notice since that album for one reason or another. It’s a shame because it would have been interesting to follow their trajectory to the progressive style of today. Their still remains the odd flourish of heaviness on Rignir, but the Black Metal element is gone. I’m pleased to see the three core members are still in the band, quite a feat to dedicate yourself for such a long period without at least one soul taking the hump.

OK lets face it, there can be a strong comparison made to Enslaved here. They can’t be accused of ripping them off (forming around the same time), they have just gone in a similar direction. The tracks are generally mid paced affairs with a progressive feel and clean vocal. The vocals have that strong boom you get when the Norwegian language is sang, and all three members join in at times creating their own mini choir. The metal vocals are not completely resigned to burial as Kaldr introduces some mild throaty lines. Starting heavier the double bass drum winds up to drive the track along with a lovely pronounced bass guitar from V’gandr. There is time for the track to fall back to Viking hymn territory with a crescendo out the other side.

This is not the most melodic album, the guitars strum their riffs but these are never overly complex. The bass playing is prominent in the mix, which is nice to hear and the drums do add impact from time to time but mainly serve to push the tracks along. The enjoyment comes from the tracks as a whole rather than any spectacular instrument playing, they are structured in a way they don’t get boring, a brooding solo here, a tempo change there (Ísuð uses an interesting slide guitar technique). With only one track below 5mins this is a weighty release, close the 1hr mark. There are no obvious hits that you would throw on for a quick fix, it needs to be taken in one sitting if possible.

Typing Rignir into Google translate it auto-detects Icelandic as the language and gives Rain as the meaning. I won’t argue with that, in fact those lines on the cover do look raindrops! They perform in their mother tongue again, like they have for most of their albums, no complaints their either. Helheim have come a long way, they have not progressed out of the metal genre just yet. They retain enough grit to pass. I just wish there were a couple of standout tracks that would have me itching to come back for repeat listens more often, as is I’ll have to wait until I’ve an hour spare to immerse myself in it whole.

A certain oddly passionate type of Norwegian teenager in the late 80’s and early 90’s would spawn in droves across the country thanks to makeshift networks providing access to underground music. It was specifically the high-impact world of Quorthon and the inspiration of his Bathory project that brought so many Scandinavian kids earnestly towards black metal and a select few would dive headfirst into viking metal. Members of Enslaved would appear to have dedicated their lives to black metal before they’d hit puberty and several cults of young viking/black metal purveyors would form bands soon after. Islands of inspiration formed in Haugesund (Einherjer), Stavanger (Forlorn, Twin Obscenity), and Oslo (Storm) but in those early 90’s it was Bergen where the heaviest and most steadfast viking, black and folk metal hybrids would create strong bonds and weather themselves for the decades since. The trajectory is similar for many of these bands and it’d be most clearly exemplified with Enslaved as a pure form of complex black metal rhythms and viking themes would soon give way to progressive black metal approach that’d in turn slowly move towards complex rock influenced modern metal by the time the millennium had passed. Hades would follow a similar path from a wholly different angle with mixed results but the major outlier of interest today, Helheim, were perhaps born completely off-center of it all. In remaining dedicated to the spiritual aspect of the music, much like Kampfar, they’ve modernized and experimented in glorious and celebrated style across the last twenty years without alienating the goal and the spirit of the musics original intention. Now on their tenth album since forming in 1992 Helheim operate within broadly accessible strokes, touching upon modern Scandinavian rock simplicity without losing the pagan/viking metal affect that remains a part of their identity despite several massive changes since their first album in 1995.

For a band with so many releases and such a long history of recordings and live performances it becomes necessary to section their discography off into what are admittedly somewhat arbitrary eras of stylistic focus. The first era would last throughout the 1990’s as the band worked with famed producer Pytten (Burzum, Enslaved, Immortal, etc.) as their brand of shrieking black metal and rhythmic viking metal would merge into one style best exemplified by ‘Av norrøn ætt’ (1997) as the relative peak of this period. By the time ‘Yersinia Pestis’ (2003) released it’d seem the band were no less strong but defined by a manic bass-forward bout of compositions that were neither mired in the past or meaningful to the future, it was an odd point of stasis that they’d recover with on the out of character ‘The Journeys and the Experiences of Death’ (2006) a blackened death metal record similar to Enslaved‘s ‘Mardraum: Beyond the Within’ and perhaps influenced by V’gandr‘s ongoing presence in Aeternus‘ death metal centric phase. If you are a fan of later Dødheimsgard it is well worth checking out, it was my introduction to Helheim and still reads as one of their strongest ‘unexpected’ moments. This’d mark the beginning of the band’s relationship with producer/engineer Bjørnar Nilsen who has been instrumental in popular Taake, Blodhemn, and Vulture Industries releases since. ‘Kaoskult’ (2008) marked a higher watermark for Helheim but it’d be fair to say that ‘Heidindomr ok motgangr’ (2011) marked the end of their more brutally achieved, noisome viking/pagan metal phase.

The third and perhaps most inspirationally grounded phase of Helheim‘s body of work is where we are today, three albums deep into increasingly clean-sung ‘progressive’ and folkish pagan metal with naturalist and fantastic Norse poetry as the guiding message. It’d seem that though the line-up hadn’t budged since 2008 (or really 1992) with the addition of Reichborn (ex-Syrach) on guitars creative and sporitual limit was reached in 2011. I’d thought the band was surely over during the four year wait, and the quiet reception for ‘raunijaR’ (2015) in the states might’ve suggested many thought the same. Despite the odd choice of the backwards title it was a major musical success and perhaps the strongest creative turn among their peers since Enslaved‘s ‘Below the Lights’ a decade previous. ‘landawarijaR’ (2017) polished the clean vocals of the prior record and elevated the spacious feeling of the production, more or less making good on a refinement of the prior work but with an even darker, doomed feeling underpinning its expressive style. I would eventually count that album in my best of 2017, from there ‘Rignir’ was highly anticipated on my end knowing that Helheim weren’t likely to sit in the same place for long. In 2019 they haven’t rested on those redeeming changes as this follow-up finds the band at their most poetic and meditative.

The third phase of Helheim‘s career is undoubtedly the most fulfilling as their goal to connect the dots between Norse heritage and modern life in a meaningful way makes increasingly profound headway with each release. Named for the rain and focused on the imagery of the natural weather systems characteristic of Scandinavia ‘Rignir’ is almost entirely meditative as a listening experience though each song kicks up dust in some dramatic fashion; The black metal aspect of Helheim‘s sound is not lost but very controlled and profoundly atmospheric. The closest meaningful comparison is perhaps a cross between the modern style of a band like Primordial (from a distinctly Norwegian perspective) and the lush atmospheric harmonization of post-90’s Falkenbach. This description may not fit entirely well as you first approach the album but, by the time you’ve soaked in it beyond “Snjóva” it’ll make more sense. There is of course plenty of familiar ground covered in that these are clearly the same folks who wrote and performed ‘landawarijaR’ a couple of years previous but, this time the modern rock influences are amplified beyond previous work. This’ll be a difficult change to imagine considering how broad ‘modern rock’ could become so, think along the lines of Sólstafir‘s ‘Ótta‘ with a viking/black metal basis. How ‘Rignir’ doesn’t come across as pompous and too oddly esoteric is some sort of achievement but it will undoubtedly read as a singular and often fairly subtle experience to the dedicated modern black metal fan. Without the context of their prior two albums it’ll seem somewhat alien for better or worse.

A full hour of meditative modernist blackened atmospheric viking rock should sound a bit scary no matter what direction your mind would head in but, the vital missing piece part of that description is Helheim‘s own distinct musical personality. I’d suppose that’ll be a challenge for folks who aren’t so initiated with the arc of their discography but for those already well familiar and inspired by their previous five or six records should find this almost too mature progression gratifying. ‘Rignir’ is such a chilled and contemplative record that I did feel like I was missing out without a lyric sheet and did end up purchasing a physical copy in the hopes of connecting with it beyond the sympathetic notions of its tone though whatever internet based translation I’d mustered doesn’t convey the nuance of the language. It all makes sense in this form as the point is still a meaningful connection with Norse heritage though I found myself wanting some additional insight beyond intuition. The full listen really has no dips in quality though it does trade the fiery jolts of pagan metal instrumentation for a more relaxed almost post-rock style of nuance that doesn’t ever betray the Nordic folk roots of the band but feels unashamedly modern at the same time. I found myself listening about two times per day for several weeks and generally always happy to return to the record. Much of the songwriting is generally similar in pace and performance so, there was the tendency for the full listen to feel like a hymnal with a few kicks into post-rock and prog-metal dramatics as it progresses. The value I found in the listening experience was meditative and with some admiration for the often skillful performances. For my own taste and years of experience with the bands discography I found ‘Rignir’ easy to approach and joyful as an addition to their sort of ‘third phase’ style and I’d generally give high recommendation for the full listen. If you don’t get exactly what you want out of this record I’d suggest that Helheim have nine others to try out in the meantime, each with the potential for some sort of interesting paradigm shift. Highly recommended. For preview I’d suggest the duo of “Snjóva” and “Ísuð” as the most exciting peak of the album and the title track as the tone-setter for much of the remainder of the record.

Attribution: https://grizzlybutts.com/2019/05/16/helheim-rignir-2019-review/