Svartidauði interview
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Flesh Cathedral balances the energies of epic conquest and pitiful defeat with an acrobatic confidence that maintains a sense of morbid excitement for the entire runtime without once degenerating into self-congratulation. You can already see the influence in the scene by aesthetics alone.
The comment system has been a bit squiffy recently and I have no idea why. What persists through all the changes is a kind of unifying theme in the atmospherics of the music. This is the way things work in my defective brain.
Revelations of the Red Sword - In 2014, a team of scientists claimed to have detected self-correcting computer code in equations that describe fundamental particles of the cosmos. Andy Synn prepare this review of the new album by Svartidauði.
Review Summary: the crystallized eye of dementia. Isolated in the northern Atlantic and wrought with unforgiving landscapes and a challenging climate, the topographical factors that have played into the birth of such a tight knit microcosm of artistic commune is very real. You know, for a nation with a population you could damn near fit into a pair of football stadiums less than 400 thousand permanent residentsthe disproportionate amounts of high svartidaudi extreme metal coming from within its borders would be rather surprising if it were any other country. Boasting notable bands like Misthyrming, Sinmara, Carpe Noctum and Zhrine - who exist in a scene that often shares musical ideas and band members alike - Iceland's black metal resume is chalk full of high quality releases from a small populace of svartidaudi that eagerly collaborate on various projects together. The result is a synergy of creative juices that continues to push the genre's aesthetics to into new territories while staying trve to its dark traditions. Svartidaudi this diabolically stellar black metal scene is the band in question, Svartidaudi. While borrowing noble amounts of influence from the lords of discord themselves, the group shares numerous aesthetic resemblances to Deathspell Omega and the flocks of imitators who followed suit, albeit without wading into the stagnant waters of mindlessly dissonant wankery. Indeed, those six years svartidaudi development really paid dividends, as this 57 minute swath of feverish horror is truly a world unto itself — a meditative gaze upon a decaying land, if you will — that captures torment and existential woe imbrued with ominous wonder like few albums ever have. It feels like a train ride through the rotting fields of abandoned farmlands under a putrid yellow sky in a world poisoned mute, as you lay tender and dissociated from a high fever that blurs your vision. Moments of clarity overcome your fugue in fleeting rays of emotional release whilst you wrestle both inner and svartidaudi demons vying for your mortal flesh. Serving as just a singular example of svartidaudi magnificent songwriting, one would be remiss to reduce this Flesh Cathedral to a sum of its parts. The vocals of bass-wielder Sturla Vithar mesh with the guitars on ghastly frequencies, with morose lyrical subjugations only bolstering the conviction of his vehemence. The subtlety of the intricate percussion remains thematically sound, setting the adrenal pace anywhere between numbingly sedate to frenetically panicked while remaining ever conscious of the development of each musty passage. One look at the album cover tells all… this is a delirious and occult Rorschach blotter of long-form songwriting that sways with bone breaking momentum and lacerates moral tendons with passionate intention. Flesh Cathedral not only sinks any and all optimism into burbling pits of svartidaudi tar, but flashes svartidaudi glimmers of hope and scenic awe to make the descent into a nihilistic hereafter all the more agonizingly uncertain. Any number of hopeless comparisons could surely give way to images of desolate and dying landscapes in a post-apocalyptic land wrought with famine and disease, but in the end this album is one of those high-watermarks of black metal with an atmosphere so stark and convincing that it really needs to be heard to be believed. Playing as one unit, the years of chemical reactions between the musicians permeates the entirety of this record. Those frightening melodies and counterpoints bear the unmistakable scars of a human element battered by an indifferent world lost to the throes of greed and conflict, all the while extroverted and militant in their insistence to inflict strife and decrepitude in equal measure. Atypical riffs seldom make an appearance, with flecks of familiarity serving as the only occasional reprieve to the suffocating and addictive poison of this full-length. Flesh Cathedral balances the energies of epic conquest and pitiful defeat with an acrobatic confidence that maintains a sense of morbid excitement for the entire runtime without once degenerating into self-congratulation. I have, on numerous occasions, peered into this cosm of darkness seeking signs boastful songcraft to no avail. Very seldom does dedication svartidaudi an aesthetic meet musicianship in such an emotive marriage, and Flesh Cathedral is a massive accomplishment for Svartidaudi that will timelessly cement their status among modern-day black metal legends with ease.
Svartidauði - The Temple of Deformation [Full]
This is a considerable improvement over Flesh Cathedral, and is a worthy entry into the debate of the best black metal album of 2018. You seem to be taking issue with something no-one has said. Spearheading this diabolically stellar black metal scene is the band in question, Svartidaudi. And right at the top of the totem pole, in my opinion at least, are Svartidauði. Signor Marinetti is credited with founding the avant-garde movement known as futurism, an artistic philosophy which rejects nostalgia and calls for all eyes to be fixed on what lies ahead. He adds that while ceremonial shamanism might be magical and glorious, not all of his consciousness alteration has been equally profound in nature.
