Naglfar: Téras

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## Reviews

### Naglfar: Téras

#### 08/03/13 || cadenz

Five long years passed since the latest Naglfar album, “Harvest”, and considering the high quality of that disc, the wait wasn’t easy. Then there was “Téras”, and all was good. Right? Wrong. At first I was kind of put off by the abrasive roughness of the production and numerous blastbeats, and the (then) apparent lack of catchy material. Good, but not great. A slight disappointment. Time passed. Fall turned to winter. Obama was re-elected. Boners came and went. Horse meat inexplicably turned into a big no-no. And in time, I revisited “Téras” again. It had grown. Balls. Then I witnessed Naglfar live at House of Metal in March ’13, and it all clicked into place. Apparently my initial dissatisfaction was erroneous.

Naglfar, Sweden’s finest, have always been known for their malignant black metal mix of mournful melodies, discordant blasting, majestic arrangements and catchy choruses. “Téras” (Greek for “monster”) is no different. An intro-like title track in a slow marching tempo builds up an ominous atmosphere with choirs and shit, and then all hell is unleashed on the first “proper” track “Pale Horse”. Furious blastbeats courtesy of session drumming wizard Dirk Verbeuren drive the momentum onward to a short break and – BOOM – the tempo is upped even a notch higher! This opening sets the tone for the whole record, the main characterizing words being ominous and furious, and let’s throw onslaught in there as well.

Even though the soundscape and drumming build up a wall of roughness around the music, a slightly deeper delving into the somber layers of “Téras” displays a vast variety of melodic content. Lead guitars, often with harmonies, have been one of Naglfar’s fortes since day one. You might say that they are, in a sense, the Iron Maiden of black metal. With balls. Black balls. Of grvmness. Even though the leads aren’t as catchy as they’ve been in the past, they still get the job done very well. This contrast between harmony and disharmony, soft and rough, is a huge part of Naglfar’s appeal.

One part of the Umeå-dudes’ music that doesn’t get recognition enough is the vocal arrangements. Most of their choruses are almost impossible not to sing along to, and that’s because of the extremely clever streamlining of Olivius’ raspy vocals. The lyrics are sparse, everything but the essentials have been cropped out, and the well thought out rhythms are placed just right for maximal impact. Listen to ”Invoc(H)ate” or ”Bring Out Your Dead” for example. After the first spin you’re screaming your socks off. Yes, I groomed those links to start at the right second for your infinite pleasure. I’m that awesome.

Another aspect that I’d like to point out is the most welcome rhythmic riffing that breaks the conformity of more flowing riffage, just try the post-chorus or the epic bridge on ”III: Death Dimension Phantasma”. The subtle keyboards in the background during the latter part are also a prime example on how to use synths. By not over-using them you get the opportunity to make a huge effect towards elevating the atmosphere when you actually decide to kick in the strings, choirs or pads. Grief of Emerald, listen and learn.

The execution is top-notch all around, and the production is clear, strong and fitting with its slightly unpolished jagged edges. “Téras” is another gem in the impeccable Naglfar discography, and it’s nice to hear that a veteran band of more than 20 years is still this hungry and passionate. Hail the kings of melodic black metal!

- Information
- Released: 2012
- Label: Century Media
- Website: www.naglfar.net
- Band
- Kristoffer Olivius: vocals
- Andreas Nilsson: guitars
- Marcus E. Norman: guitars, bass, keyboards
- Dirk Verbeuren: drums (session)

- Tracklist
- 01. Téras
- 02. Pale Horse
- 03. III: Death Dimension Phantasma
- 04. The Monolith
- 05. An Extension of His Arm and Will
- 06. Bring Out Your Dead
- 07. Come, Perdition
- 08. Invoc(H)ate
- 09. The Dying Flame of Existence

Reviews

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