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Midnight Rising

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Midnight Rising
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Buy on: Bandcamp
Type: Full-Length
Release Date: August 1st, 2014
Label: Independent
Genre: Progressive
2. Midnight Rising
3. Critical Mass / The Breathless Sleep
4. The Burning Sky
5. Crashing Down
6. Gone Forever
7. Is This Who We Are?
8. A World Born Of Fire
9. Where You Are
10. Reach Me


Review by Felix on June 22, 2025.

I don’t need ambient albums. I ignore them even if the logo of Burzum is written on the cover. So in my very subjective opinion, “Belus” was the first full-length after “Filosofem”. The reasons for the long silence are surely well known and I don’t intend to start another discussion about the personality of Varg, Greifi, Louis or whatever his name is. I just focus on the album itself and the bitter finding is that it falls by the wayside in comparison with “Filosofem” and “Hvis lyset tar oss”. The first halves of these works present in total five songs that belong to the absolutely best tracks one can get in terms of black metal. Here Varg has shown impressively that he is a highly talented and ingenious composer. What an atmosphere, what fantastic guitars. Compared with these monuments, the here presented material appears as ungainly as a hippo’s movements on land. Worse still, no song spreads the slightest touch of magic. “Belus” is nothing but just another black metal album.

Okay, even “just another black metal album”, in this case equipped with a simple yet adequate artwork, is not the worst thing life can present you. As soon as I can forget the musical bewitchment of some of Varg’s former works, I realize that “Belus” has its moments – especially when the output gains intensity. After a long stream of mid-paced sounds, “Sverddans” is a song that introduces a rough edge to the album, but it is much too short to give “Belus” an extreme character. The following “Keliohesten” penetrates more deeply. It turns out to be a strong up-tempo number that relies on effective guitars and a certain hypnotizing force. But generally speaking, Varg uses his former song-writing formula without coming to similarly convincing results than before. A lot of it seems tough, a lot of it is repetitive (but not mesmerizing) and some of it gets stuck in the swampy morass of monotony. Perhaps it is meant to be reflective or lost in thought, but there is also a certain sense of helplessness on the listener’s side.

Probably the album works best on a lonely autumn evening with some rain outside and a flickering candlelight. In any case, the material needs some external support to develop a flavour. The relatively full production leaves little room to breathe, it seems professional but doesn't spread any coldness and the guitars seem a bit mushy to me. This alone puts “Belus” miles behind its (partly) metallic predecessors. But the worst thing is that Burzum has been an extremely polarizing project. Okay, it would be too much to say that “Belus” delivers consensus metal. Nevertheless, the absolute despair, the inner turmoil, the total hopelessness and last but not least the brute determination remain largely absent from the work from 2010. Everything is a bit polished and Varg favours a controlled vocal style, not bad, but less charismatic and memorable than before.

Anyway, the last (and overlong) track is the “Konklusjon” and I guess that it is time to get to it right now. Despite all my criticism, “Belus” is not a bad album. Varg's creativity has obviously suffered in prison in Bergen, but at least he doesn't deliver any half-baked snot here. Maybe some of you enjoy the melancholic feeling of many tracks, but I miss the uncompromising mercilessness Burzum stood for in the mid-nineties. Perhaps the full-length would have been better if the artist had shortened some of the tracks, but this idea did not come to his mind – and so I don’t have the intention to give a higher rating than 7.2.

Rating: 7.2 out of 10

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Review by Chris Pratl on August 5, 2018.

Burzum is a band I’ve been a fan of since 1992, and for true black metal music Varg Vikernes is one of the absolute founders of the Norwegian scene, despite many opinions to the contrary. His line of music is one that has seen many changes, both radical and subtle, and all of them have garnered him many fans and criticisms. Some true black metal fans don’t like the progression from Hyis Lyset tar Oss to Filosofem, thinking the more culturally-inspired work not “kult” enough. I suppose, in essence, you either get Burzum or you don’t, and some people cannot adapt to change. 

Belus is the first full-length Burzum release in 11-years, and while the elements of black metal are still intertwined within the music, the cultural aspect is richer than ever. Where once you could put on the Aske EP and drive through a snowstorm at night and try hard to imagine yourself on the frozen roads of a Norwegian hillside, this album digs deeper into the roots of Vikernes’ Norwegian heritage. Originally titled “White God,” the album centers around the mythology of Belus, the deity of light, and while all of the lyrics are in Vikernes’ native tongue, the music surely transcends the limitations therein. 

As opposed to a typical fanboy espousing the merits and wonders of Burzum, I’d rather cast a very neutral light on what I’m hearing in this CD after one initial listen. I’d say the CD might resonate longer after a second or third hearing, but it is certainly interesting. I’ve managed to stay away from most of the initial banter abound on the ‘net about the album, but one or two blurbs I did catch noted disappointment at it not being another Det som Engang Var, which is inherently silly. Vikernes was still a kid when those albums were made, and while those albums are still viable and very good, he is a man nearing 40 and is more concerned these days with his Scandinavian topics as opposed to the satanic. As for the actual vocals on this CD, I must say they are a pleasant surprise. The vocals of his earlier releases were more in tune with someone stepping on tacks and attempting to sing. I can muster through them, but they are a tough go for me some 18-years later. These vocals are a raspy, very “typical” delivery, but a step in the right direction. I’m sure many people might also feel that the change to the typical vocalization of most black metal bands is conforming rather than separating from the masses, but the music and vocals are a nice partnership. 

Vikernes managed all of the instruments on this release as he has with all of the others (save for Samoth’s contribution on the Aske EP), and he is a firm believer in the “if it ain’t broke, don’t fix it” adage. Overall, I think he’s more than competent in the musician area, without question. The Belus music is good metal music, but far from perfect or original. It’s a very nice compliment to the Burzum mythos, albeit a rather obvious one. 

I can listen to this CD again and enjoy it, possibly more than the first go-round, but if you’re anticipating a follow-up to 1993 you might well be disappointed. Fans of Filosofem and Hliðskjálf will really enjoy this release. Fans of the atmospheric metal will also certainly get into this. While not too far from the black metal beginnings, the Belus offering is a audible trip to one man’s tribute to the light.

Rating: 7.5 out of 10

(Originally written for http://www.metalpsalter.com)

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Review by Tomek on September 14, 2014.

Last album of Oceans Of Night kept me under its spell for a long time and once I stopped listening to it I felt like I was going through some kind of withdrawal. Domain was one of those albums that go right to your head and stay there for a while. In my case it was a long while and then some. And yet when Scott Mosher contacted me about possible review of his newest album Midnight Rising and knowing what it most likely would do to me, I grinned like a drunk getting a free-drinks pass to a local bar.

I had this album spinning in my player for some time now and I think it’s safe to say that for someone that knows and likes Oceans Of Night their newest album might to be like a wet dream, but for me it falls short of the mark. Now, before you decide to start looking for a rope to make a comfy noose for me let me explain myself. I consider Midnight Rising to be a good album. It’s Oceans Of Night album and if you look for music that only they can create - you’ll find it on here. There is plenty of everything that we know and love; there are plenty of subtle keyboards, spacious guitars, beautiful vocals, dynamic drums, screaming solos and yet I believe there is something missing on it. I've listened to the album numerous times and I tried it with all kinds of settings and moods, so my opinion is based on many hours of listening to it and it just isn't what I expected and even though I like it, to some point I feel underwhelmed. Me expecting something could very well be one of the problems here (expecting something from a band rarely works out) but the new album for me is missing the vibe, the energy and the atmosphere that Domain had. It feels like this are the ideas that were put on the back burner during the previous session and since they were not good enough they didn't end up on the album. After reworking some things and adjusting some others we have new album but it is with b-sides material. Just like on the previous release Scott composed all music, Scott Oliva took care of vocals and Alan Smithee was the guy that hits things with sticks, so all creators are the same but this material doesn't feel new and it doesn’t sound fresh. It feels dated and sounds much less interesting than Domain was. There are a couple of guest appearances on the album to spice things up but only the vocals of Stephanie Warren stand out enough to be remembered. Extra keys and a guitar solo disappear somewhere in the mix.

There is plenty of good stuff going on here so it is not all that bad and I probably shouldn't compare it to any previous material anyway, but after hearing Domain how can I not? I feel Oceans Of Night needs to step up their game and come up with some butt kicking material for the next release. I want to suggest more guitars and more diversity in a drum department. It’s something that I've waited for and it’s something that I hope Scott will address on let’s say next album maybe - if he decides to do another.

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