Slagmaur - Von Rov Shelter (2009)

In addition to the genesis of modern black metal as we know it, Norway has long produced a series of peripheral artists who have journeyed alongside the same crowd, but created extremely different styles that occasionally cross over into the familiar. Ulver and Mortiis would be a few early examples, but today we have the confounding Slagmaur. Von Rov Shelter is the band's third full-length, and quite the bizarre entity. Alas, different does not always make for a good listen, and though this album features a few titillating segments, it does tend towards unwelcome ennui.

The spry, neo-classical intro "_" is delightful and creepy through its narration and playful orchestration, but "Drako Gigant" transforms the album into something 'other', a bludgeoning industrial black track (similar to Red Harvest) which starts strong, but gradually grows boring, even when the rhythms shift for a little chaos. "Fantom Eks Speriment" conjures another mire of black sludge with an industrial edge to the percussion, pleasing at first but again it devolves into what seems like endless repetition of uninteresting notes. Ditto for "Lange Knivers Natt", for its dull rise and fall rhythm despite a dense, dark backdrop, and a pretty ominous breakdown around the 1:45 mark which creates one of the highlights of the record. "Nattens Sorte Ord" is another classical interlude, but tonally darker, with some whispered vocals. "Klokker Tramp" is another, sludgy industrial black track but I found the atmosphere superior to any of its predecessors. The final piece is "Ramaskrik", which dwells in a haunting environment, yet again laden in repetitious note patterns.

Von Rov Shelter is stark, grim and raw, aside from the interludes, but unfortunately none of the rhythms really take advantage of that fact. There are interesting ideas at play, but dull in their execution, as if the album cannot completely shoulder the burden of its own weight. I hate to sound too negative; I appreciate bands thinking outside the box, and clearly Slagmaur does this, but the experience was somewhat lacking. For the heavier material, the final two tracks dominate the rest of the album, but they entered the picture a little late.

Verdict: Indifference [6/10]

http://www.slagmaur.com/

Slagmaur - Skrekk Lich Kunstler (2007)

What's this? A Norwegian's tribute to the black metal he grew up on in the 90s, done by a bloke who calls 'isself General Gribbsphiiser? Alright, I approve of his name. I also think the cover art for this is pretty awesome, so here goes.

Gribbsy may have made this as a tribute, and there's certainly a bit of Burzumic influence laying around, but this isn't the same stale worship we've seen for over a decade. Skrekk Lich Kunstler is a brooding work of haunting atmospheres heralded by martial severity and neoclassical perturbations. The black metal portions arise as almost funereal efforts: simplistic riffs crawling in distortion and reverb, even simpler drums pounding with a detached, unwavering focus. As you might guess, the worth here lies in the mood. The metal acts as an undercurrent, a solid anchor upon which all the murk builds and feeds upon. And what a murk, what a phenomenal stink the old miser Gribbsphiiser has built upon it. Aside from the thick ambience that hides in the corners of each song and the mad dementia of the vocals, the real lethality of Skrekk Lich Kunstler comes from the aborchestral tone blatantly portrayed on the cover. While "Norwegian Giant" sets you up for the garrote with its lurking strings and somber war horns, "Olderman Uhygge" openly stalks you, always remaining unsettlingly visible on the periphery. "Die Eldres Klage" has some strangely idyllic flute strains that gives it an air of righteous murder. "Mordfor" finishes the album on a tenuous note with a dissonant piano intro that quickly decays in favour of an urgent wall of unholiness. Trilling guitars seem to fight with themselves for their very existence, rising uncertainly amongst the confusion.

This is a dense, powerful trip through the blackened filth of Norway, and I would recommend it to anyone who loves the slow might of doom, the madness of black metal, or the depths of dark ambience. The only real weakness comes in the opener "Eik Som Klor", as it lacks the rich atmosphere of the other songs and gets a bit lost in repetition as it wears on, but this isn't enough to keep the album down.

Verdict: Win [4/5]