Review by Felix on October 16, 2019.

Sometimes I think that real art must be provocative, rebellious and disturbing. Yet this is not to say that I enjoy any form of provocation. Some things are simply idiotic. Does somebody ask for an example? Read the title of the first track of Hrimthursum and you know what I mean. In addition, the cries of the baby during the intro are disgusting as well. This intro is written by lead vocalist Sidegård. Back in 2006, I thought that he is just a very charismatic singer with a demonic aura. Today we know that he is also an antisocial thug. And so, one thing leads to another.

That said, let's take a look at the advantages of Necrophobic's fifth full-length. No doubt, it is imbued with a hellish aura. The champions of black / death metal invite the listener to a journey through landscapes of gruesome images. Each and every song is built upon a diabolic fundament (and so it is a suitable album for my 666th review). Listen to the background choir of the tortured souls in "Age of Chaos" which reappears in the title track. Or lend an ear to the uncanny, solemn yet homicidal lead vocals in "Bloodshed Eyes". They characterize horrifyingly the central section of this track. Not to mention the razor-sharp riffing of the unrelenting album highlight "I Strike with Wrath" which is nothing less than an orgy of cold-blooded violence. Necrophobic demonstrate their technical skills and their song-writing abilities in an almost arrogant manner. No doubt, the Swedes are highly talented musicians - and with regard to their sinister art, they were seemingly born in a very dark and extremely cold winter night. And while we are on the subject of winter, "Eternal Winter" is the speed king of the twelve tracks. The band seems to be possessed by velocity and the rapid rhythms, combined with the typical high-class riffing, shape another very strong song. Yet Necrophobic are not afraid of variations. They also convince while performing slower pieces.

The title track, for instance, chooses a mid-tempo approach. Its profound depth is based on the competent guitar work and the eerie chorus. The female background vocals that I have already mentioned lend the song its dramatic touch. "Sitra Ahra" seems to be a lame stinker in view of its nearly dawdling beginning, but inter alia the chorus sets a sharp contrast. The screaming guitar in the background causes sharp cuts that make this piece compatible with the remaining material. Speaking of the songs in general, Necrophobic's compositional talent leads to an almost immaculate symbiosis of catchiness and brutality. This is all the more remarkable given the fact that all band members have contributed to the material (although lead guitarist Ramstedt has written the lion's share of the compositions). The dudes avoid repetitive structures without being shy of relatively conventional verse-chorus-verse patterns. The tracks are always accessible. Better still, it is neither a tough job to get familiar with the album nor does one grasp every detail during the first or second listening session. Hrimthursum, which is well balanced between extremely harsh and rather melodic parts, grows diabolically while heralding the imminent apocalypse.

Of course, a good production is always helpful and, to be honest, Hrimthursum sounds perfect, no more, no less. The transparency is not at the expense of atmosphere and features such as pressure, density, intensity and brutality are not missing as well. In short, the flaming artwork depicts the aura of the music successfully. It seems as if Necrophobic were focused on a holistic approach. No doubt, the band has worked meticulously in every respect. The result is gargantuan and nothing less is acceptable for an album that hails the ice giants of the German mythology. Thus, join the black celebration of Necrophobic. If you have not yet listened to Hrimthursum, then it is high time.

Rating: 8.9 out of 10

Review by Felix on September 10, 2019.

Serbian black metal seems to be a challenging kind of music. The Stone always create dark and almost impenetrable monuments, but the unfortunately less known Zloslut do not need to fear comparison with their national role models. Sahar attacks with seven songs with an average length of more than seven minutes. Sometimes this configuration makes it hard to enjoy an album, because our fast-food-minds do not understand why it takes so long to come to an end. But Zloslut seem to be aware of this fact and that's why they connect slightly dissonant, abyssal sections with relatively smoothly flowing parts. Both components have one thing in common, they do not lack vehemence. Given this situation, already the opener scores with its various facets. Enjoy its morbid introduction, the slowly growing heaviness or the first rapid leads that guide us straight to hell. And by the way, the opener's title "Collapsing of Cardinality and the Rising of Absolute" seems to reflect the length of nine minutes... In particular the lead vocalist uses different approaches and expresses pure darkness. He even intersperses an "ugh", but naturally the class of Tom Warriors elemental cries remains untouched. The only regrettable thing about the opener is its unimaginative end, it just fades out.

Zloslut stand with both feet on the scorched ground of the black metal territory, but they also have a mostly well-hidden affinity for thrash. Occasionally it shimmers through, for example at the beginning of "The Quest". Nevertheless, the unholy aura of the track leaves no doubt that this is still a conjuration of evil. The band spins a very dense web of negative emotions. It does not offer the Burzum-esque meditative or hypnotic sequences that rely on endless yet fascinating repetition. Nevertheless, sometimes it feels as if the group wants to deliver the soundtrack that helps the listener to fall into a kind of trance. However, I prefer the more raging parts which have an almost mind-bending effect whenever the dudes reach their top form.

Production-wise, the album meets the international standards with great ease. Sahar sounds voluminous, vigorous and does not lack pressure. Unlike some other productions of the sub-genre, it does not get blurred when it comes to fast eruptions. Given this situation, the unconventionally designed tracks can reveal their full aroma. Okay, I cannot say that each and every song makes my day. Yet there is more than enough substance in the seven pieces, a pulsating heart that beats for the glory of the dark arts. And this kind of pretty complex black metal is still a rather young style. One cannot speak of an innovative approach, because The Stone play this kind of music already since some years - but the Norwegian godfathers of the second wave did not perform such interwoven songs, that much is certain. Additionally, there are no doubts that Zloslut still have room to improve. Some meandering parts should be erased in order to make the songs more compact and a tinge of catchiness would also be a fine idea. However, if you like your black metal raw, sinister and authentic, Sahar is a good choice for the next intensive listening session.

Rating: 7.5 out of 10