Shining - X - Varg utan flock (2018)

Despite the band's cloying reputation as harbingers of depression, or as a vehicle for one of the most peculiar personalities in all the black metal jurisdiction, I've always found that what Shining translates to disc is often far more compelling than a lot of their peers who were stuck in the lo-fi rut of rawness and rasping. Rich and fulsome production values have long been their standard, and the material that manifests throughout the last decade of releases has appeared varied and interesting, if not ultimately memorable across the boards. Varg utan flock, the band's 10th 'proper' full length, or at least the tenth in their numerated series, upholds this pattern with a blend of traditional black and thrash metal, woozy suicide acoustics and drifting, dreamy aesthetics that create an evocative contrast between furor and stillness, desperation and violation.

Often reminiscent of Root, in how Kvarforth slathers a charismatic, almost comically serious intonation over the clean sequences, a lot of the songs here are nevertheless dominated by fist-balling brute black metal passages that harness the most basal riff patterns into pure force. When he emits that lower, grimier guttural roar over the more brick-thrash patterns, or the lead guitar spits off into an emotionally appealing or even shredding element, I was also drawn back to those Czech miscreants during their classic years, where the 'black metal' tag didn't feel entirely streamlined with the Norse standards. That said, there are plenty of meatier rhythm guitars here which cast the same dissonant, driving shades as their Scandinavian peers, and again the production is just so thick and satisfactory, with all instruments represented perfectly, the clashing and clanging of the kit (which often erupts into a jazzy cadence), the moping swerve of the bass-lines, and the oozing imperfections that continue to define Kvarforth as one of the most instantly recognizable frontmen in his field. Varg utan flock sounds absolutely fantastic blasted out from my speakers.

So why won't I rate it more highly than I'm going to? For all its variation, from the piano interlude "Tovtusenfyrtioett" to the barnstorming blackened pugilism that occupies about 50% of the playtime, the riffs really just don't stick with me for long. Having a standout like Niklas helps a great deal, and the weirder the album gets, like the glistening and ominous clean guitar-driven "Mot Aokigahara", or the deep, morose cover of Placebo's "In the Cold Light of Morning", the more it attaches itself to my conscience, but it just seems like its lacking a half-dozen killer riffs during the heavier segments that would have gone a long way towards its listening value. Don't get me wrong, the astonishingly fluid balance of instruments, the worthy production, and the sheer versatility all contribute to a good album well worth hearing, but I just needed a little further convincing to rank it among their best. A lot of folks will disagree, though, since what Shining conjures up here is so frontal and real that it's bound to land its hooks in withered hearts aplenty.

Verdict: Win [7.5/10]
http://www.shiningasylum.com/

Shining - VI - Klagopsalmer (2009)

Musical suicideers Shining waste no time in grabbing you by the collar in VI - Klagospalmer, the opening track notably different from their past works in its tempo. As ever, blistering black metal with relative diversity, yet this is something new. Haunting keyboards adorn the beat. A solo with some grooving that would be more expected on a Children of Bodom album works its way in, giving way to the end of the song -- and a riff that sounds like the afterbirth running down Ministry's leg. That's a minor gripe, however. VI - Klagospalmer is not the unfiltered sadness found in V - Halmstad, that much is clear already.

"Plågoande o'helga plågoande" is a spastic assault that segues to another one of Shining's patented acoustic/clean singing passages, and back to some curious and unclassifiable metal. There is a power-esque lead, with the tried-and-true Shining rhythm guitar and Kvarforth's screams buried amongst the aural darkness. The song ends in a xylophone melody. Yeah, they topped the cowbell from the previous album. The third track, "Krossade drömmar och brutna löften" is again furious, yet it waxes and wanes, the lead guitar eventually weaving a sorrowful incantation alongside Kvarforth's bellow.

"Fullständigt jävla död inuti" is a soaring, distinct piece, at once luscious and green with its Eagles-esque mellow clean guitar styling, and at turns dank and tenebrous. Quite something, and definitely worth hearing. After an acoustic filler track we are delivered to "Total Utfrysning". It's the most like previous works of the band, but enough comparisons. I'm a big Shining fan, and to be honest, this album was a surprise. In the past I had felt even though I could not understand the lyrics I understood the essence of perdition, of suicide, through music itself. With this album, I feel none of that. In fact, if I had to say, I'd say it's on the verge of being more upbeat than grim. That doesn't make it a bad piece of work. It's definitely enjoyable, one of the most diverse albums I've heard in recent memory. It just doesn't make me want to off myself. Oh well, there's always Dopethrone for that.

Verdict: Win [8/10]

http://www.myspace.com/shininghalmstad

Shining - V - Halmstad (2007)

While the entirety of vocal work found on V - Halmstad is Swedish, it is not necessary to understand the lyrics to be transported to a self-destructive space of mind. The album begins with a spoken word introduction, a recitation of "Antigonish" by Hughes Mearns in English before Shining envelops you in shadows. Evil dual guitars swirl in the opening track "Yttligare Ett Steg Närmare Total Jävla Utfrysning" before giving way to an eerie acoustic melody accompanied by the sound of rain. Drums and a cold bassline re-emerge, followed by singer Niklas Kvarforth, sounding nearly soothing. The track's opening maelstrom shows again, briefly, and then once again after another more calm, and yet wholly sinister interlude.

The second track again begins with dual guitars, an acoustic paired with an electric meandering in the background, together weaving a sorrowful sound not unlike something from Agalloch. Shining charms you with these beautiful and haunting musical spells before grabbing you with some considerably evil, unique black metal. There are a number of these relatively peaceful bits interspersed throughout the music, but the backbone of Shining is a driving, grim assault that sucks you in and allows you a glance at perdition. During the fourth song "Besvikelsens Dystra Monotoni," another acoustic melody appears, accompanied only by drums, and Kvarforth demonstrates truly tortured vocals, showing incredible range as he shifts from convincing wails of pure anguish to sounding briefly like Tom Waits possessed.

Shining as a band display plenty of malice and uncomfortable, creepy tunes, and yet remain playful enough to work a cowbell into their album. It is this experimental aspect of the band, and of course their obvious diverse musical talent, along with some impressive vocals, that keep me coming back to V - Halmstad, and other albums by the Swedish masters of suicide.

Verdict: Win [8.5/10] (deny tomorrow)

http://www.myspace.com/shininghalmstad