Review by Felix on June 27, 2024.

Ha, it took three days, but now that I have found the “Ú” in my laptop, I can start to write the first review for (yes!) Úlfarr’s first length. At the same time, I beg your pardon that the review is not written in Old English, although the lyrics of “Orlegsceaft” revitalize this form of English. But my modern English is bad enough and you can get a review in Deutsch if you really want, but not in Old English. So it goes without saying that I cannot say something about the lyrics, but there is another language I understand – the language of black metal. Úlfarr celebrate it in its purest form with hardly varying, extremely raw vocals, they reduce the style on its essentials, they perform their songs passionately and the artwork sends greetings to "Blasfemia Eternal", the strong Ancient Rites album from 1996. Is there anything else one can demand? I don’t think so.

Just take the sinister high velocity devastator called “Trollblót“ (needless to say that I needed two further days until I had found the „ó“). Its flow is nearly perfect, because it has such a natural feeling that it has to be exactly the way it is. The smooth yet hellish approach of the song is as irresistible as the best flowing tracks of Darkthrone on „Ravishing Grimness“ (which is a great work from my point of view) and the riffing is also not too far away from this album. The riff after the break at 4:20 is not only absolutely fantastic, it also underlines the affinity for Darkthrone as well. Due to the nearly absurdly throaty vocals, there is also some „Transylvanian Hunger“ represented in the sound of Úlfarr – I can definitely imagine worse references. Or put the focus on “Wælgæst wæfre”. (Hooray, I had used “æ” already before, it was no problem to find it!) Its seven minutes are filled to the brim with aggressive, explosive eruptions. But there are also nearly thoughtful sections and they and some mid-paced parts develop depth and despair. The song shows impressively the talent of the band to give its songs the right quantum of melodies and, even better, the guys are able to write very strong, expressive melody lines.

Admittedly, “Orlegsceaft” does not consist of highlights exclusively. Some tracks are robust and solid without meeting the highest expectations. They do not lack substance and show no signs of obvious weakness, they just have to accept that they cannot fully compete with the best tracks here. So one can sit down with a good drink and press the start button or guide the needle to the record – there is no song that will hurt the comfortable scenario. The production is also nothing one has to fear. I do not know whether there is some national black metal guide line, but the sound of the album is comparable with those of Frosten’s and Hellvelyn’s debuts. Nuances are missing, maybe the guitars could sound a bit sharper, but come on, it is a pretty simple yet adequate and vigorous sound. Unfortunately I cannot hear the bass guitar, but I am not able to say whether this is a weakness of the production or a consequence I have to suffer after more than 40 years of metal consumption. Either way, Úlfarr’s full-length debut continues the sound of their EPs and deserves respect and attention.

Rating: 7.8 out of 10

Review by Felix on April 29, 2019.

V.E.N.O. f**king M.!

Cronos is back once again. I am skeptical after the last EP and especially in view of the fact that all its three examples of mediocrity have found a place on Storm the Gates. Thus, a 95 + X % rating would be ridiculous, even for someone like me who once was a Venom fanboy and now has become a Venom fan-grandfather. Cronos will never again release a new At War with Satan, but a more than solid full-length should be possible. Maybe the droning, more or less rumbling sound of the album does not meet the greatest expectations, yet it embodies the typical flair of the noisy British legend pretty well. Needless to say, that Venom do not concentrate on technical tricks and so the production must be considered as suitable for this group - even though it would be a shame for any other formation due to its lack of sharpness and precision. But let the truth be told without any kind of cynicism. Storm the Gates (by the way, nice artwork) has an acceptable production in objective terms, no more, no less.

13 songs seem to be an omen for creativity, but honestly speaking, in the case of Venom, this would be a daring thesis. The pounding, mid-paced compositions of Storm the Gates sound antiquated. Cronos seems to have fallen out of time and the disappointing EP does not remain an isolated case. The album lacks energy and spontaneity. I miss outstanding pieces which would be able to challenge the highlights of the band's back catalogue. Generally speaking, the here presented tunes enlarge the catalogue of the trio, but they do not enrich it. It is truly bitter, but the majority of the songs raise the question of Venom's right of existence in 2018. I hate to say it, but 36 years after the groundbreaking Black Metal and 34 years after the visionary At War with Satan, this new work does not deserve a comparable attribute, even though I am not speaking about a complete flop. Nevertheless, it is remarkable that the entire work has almost nothing in common with black metal. Even the comparatively diabolic atmosphere of its predecessor, remember "Smoke", "Evil Law" or the title track of "From the Very Depths" is missing.

Some good riffs have been created and they are responsible for the fact that the album does not drown in the big sea of meaninglessness. If one accepts that Venom are seemingly no longer able to convey a diabolic aura, one can enjoy some tracks and have fun. "Over My Dead Body" marks the most vigorous song, it is almost an explosive eruption in the context of this album. (But its lyrics prove evidence that the band has lost the orientation. Cronos moans about omnipresent propaganda and I really don't see a link to the "Satanic" topics that made this band once great. I am sure that Satan tears will extinguish the fires of hell as soon as he listens to this work.) "Notorious", "I, Dark Lord" or the dense and robust "Immortal" score with strong choruses and fine guitar work. The voice of unbreakable gnome at the microphone also can be mentioned as a plus point, because he still has a certain charisma which fits the musical approach. Nevertheless, there is not an ounce of originality or creative insanity. It is rather an album for obedient civil servants. Teachers, employees at the cadastral office and the part-time workers of the urban library will enjoy the fact that Storm the Gates somehow reflects their personalities. No unnecessary stress, please.

Venom's once gargantuan reputation is the main reason why the band is still alive, even though it is laudable that they still try to forge new strong albums. From the Very Depths was an excellent result, at least from my point of view. But here we have to face a work that holds no components in order to blow the listener away. Too many run-of-the-mill pieces mirror exactly the feature that all artists, but especially Venom, always intended to avoid since the beginning of time. They are ordinary. The closing title track is the final disappointment. I always thought a title track should be something special, but here we have just another piece of more or less structured noise. The once polarizing pioneers deliver songs which are too good to hate them and too bad to love them. I will walk the way of Venom with them until the bitter end, come hell or high water. But it seems as if the end is coming nearer and nearer.

V.E.N.O.f**king M.?

Rating: 6.8 out of 10