Review by Jack on December 31, 2001.

Right from the start I would like to begin by saying that there is not one stinker amongst the 8 songs that exist on Hollenthon’s debut album in “Domus Mundi”. All tracks stand well enough on their own two feet and each are different enough to prompt single value if there were such a proper market for heavy metal singles.

Hollenthon hail from Austria and deal with metal that breaches a strange and alternate cross between death metal and samples taken from many different areas of the world music spectrum. Some of the samples encountered are what I swear is from the main title track of ‘Braveheart’ (bagpipes, drums etc, etc.) on the track ‘Interlude’. Gregorian chants erupt in the track ‘Premonition’ which really adds to the diversity that Hollenthon obviously possess. This sort of originality is bound to attract good and bad criticism, and I myself cannot sing the praises of Hollenthon enough. When speaking of originality; one only has to browse through the booklet and see the sort of topics that one would find in an ancient monastery during the 15th century. My head fills with images of foul necromancy and famous deeds precluding to the Industrial Revolution some years later.

Vocals from Martin Schirenc range from clean vocals that one may find in your average mainstream pop track to the normal black metal rasp. While he may not win too many awards for outstanding originality and innovation, the vocals do certainly suit the brand of music they play and that is usually all I ask for.

I really do find it hard to believe that some bands in 2001/2002 have not tried to jump on to the band wagon and joined in this sample genious that Hollenthon have started. I mean we had the abundance of black metal clean vocalists in 1997-2001; it really does elude me as to why there has not been other bands trying to milk a dollar from this formula in metal. Perhaps it is that Hollenthon have perfected this art of ‘sample metal’ and others are either in awe of “Domus Mundi” and to scared to compete or it just does not strike them as easy enough to take on. Whatever the case may be, “Domus Mundi” is a superb album and would should stray near the record store in effort to grab a copy.

Bottom Line: Hollenthon sprang from the reaches of nowhere and have delivered the metal world an outstanding a thought provoking release with innovative lyrics and original metal. They should be commended on such a groundbreaking album.

Categorical Rating Breakdown

Originality: 10
Musicianship: 9
Atmosphere: 8.5
Production: 9
Overall: 9

Rating: 9.1 out of 10

Review by Adam M on June 2, 2017.

Solstafir performs a very subtle form of music. They are into the more ambient side of the metal genre now and it shows on their newest release Berdreyminn. This is music that is to be digested slowly to gather in all the rhythms and nuances present. There is a great amount of mood music present and it takes the form of gentle riffs that enter into your brain. The use of keys and other instruments is also present. The entire set of the instruments makes for a very exciting set of music, even though it is very subtle.

The rhythms are quite a spectacle to behold and hold the listener in trance. This is music where you don’t care if it is laid back because it is thrilling enough regardless. The small atmospheric elements present really make for an entertaining listen. Is this better than their previous awesome album Otta? It’s hard to say, but it is more great material by a great band. The album was hard to follow up, but Solstafir was quite up to the task and have presented nice material here. In terms of atmospheric metal acts, they are among the best we have in the genre right now, up there with Anathema. They are able to craft the most memorable moments at the blink of an eye.

Although the album gets off to a really good start, it is quite consistent throughout and maintains a high degree of quality throughout. This is mood music for the mind that has a great effect upon the listener. It is very esoteric in nature and makes for an enthralling time. It must be said that fans of atmospheric music have another gem on their hands with Solstafir’s newest even if it doesn’t do anything particularly new compared to previous works.

Rating: 8.2 out of 10

Review by Adam M on June 2, 2017.

Solstafir performs a very subtle form of music. They are into the more ambient side of the metal genre now and it shows on their newest release Berdreyminn. This is music that is to be digested slowly to gather in all the rhythms and nuances present. There is a great amount of mood music present and it takes the form of gentle riffs that enter into your brain. The use of keys and other instruments is also present. The entire set of the instruments makes for a very exciting set of music, even though it is very subtle.

The rhythms are quite a spectacle to behold and hold the listener in trance. This is music where you don’t care if it is laid back because it is thrilling enough regardless. The small atmospheric elements present really make for an entertaining listen. Is this better than their previous awesome album Otta? It’s hard to say, but it is more great material by a great band. The album was hard to follow up, but Solstafir was quite up to the task and have presented nice material here. In terms of atmospheric metal acts, they are among the best we have in the genre right now, up there with Anathema. They are able to craft the most memorable moments at the blink of an eye.

Although the album gets off to a really good start, it is quite consistent throughout and maintains a high degree of quality throughout. This is mood music for the mind that has a great effect upon the listener. It is very esoteric in nature and makes for an enthralling time. It must be said that fans of atmospheric music have another gem on their hands with Solstafir’s newest even if it doesn’t do anything particularly new compared to previous works.

Rating: 8.2 out of 10

Review by Alex on May 10, 2020.

Gaze in wonder, fright and awe as the necromancer practices his charm of ethereal mysticism under the incense lit full moon with startling precision and wisdom. The caller of crepuscular things jots down 6 cursed canticles of his dark undertaking on Vrees De Toorn Van De Wezens Verscholen Achter Majestueuze Vleugels. Appearing to be another one of those solo raw black metal projects, however vast and oversaturated the sub-genre may be Dodenbezweerder stands clear of the mediocre and instead strikes with a necromantic diligence and funereal beatitude. In totality, the record is an experience that once committed to excites, entrances, entertains and arouses many deep sentiments.

In retrospect I recall some few releases branched under raw black metal having quite a bassy or thick production that if thought about is opposite to the shrieking and sharp sound primitive black metal has been primarily associated with. However, with the bass now becoming a more prominent characteristic of the sub-genre one could say an evolution of sorts is indeed active. Also, the cavernous type of yell and growl has become perceivable more utilized in raw black metal and black metal this sort. Gasping voices heard in gothic metal and a form of obscure murmuring has also been added to the cosmetic palette of raw black metal. All of the mentioned attributes find themselves on Vrees De Toorn Van De Wezens Verscholen Achter Majestueuze Vleugels in-turn giving the music a multi-faceted feel that reciprocating-ly adds to the interest of the final product. Though it is not to be mistaken for a replacing of key or cornerstone elements, certain staple/traditional qualities of the medium are kept in place to ensure validity and sincerity, as the shrieking vocals, some degree of abrasive reverb, primitive drumming and atmosphere are held-fast to. On the thought of atmosphere, ambient currents run without restraint through Vrees De Toorn Van De Wezens Verscholen Achter Majestueuze Vleugels; largely undeniable and with conspicuous exhibition they appear ever glamorously attired in frightening, depressed, mystical and conquering garments ever adding to the profound nature of 'Als het vuur van mijn toorn is ontstoken zal het branden tot in het diepste dodenrijk','Glimmende zwaarden door de mist van het evangelie' and the harshly-unwelcoming 'Zalf de voeten van het hoofdeloze lichaam'.

With so much occurring on the record already, malefic keyboard synth and organ tones (at select times) are added as a glazing coat to the music on the record. At times loud in the mix such as on the title track and other instances as an atomic, yet still an identifiable feature on 'Glimmende zwaarden door de mist van het evangelie'. Yet a meditative state is still somehow instigated and kept active despite the many colliding factors on 'Vrees de toorn van de wezens verscholen achter majestueuze vleugels' that for a debut undertaking nails the climate of the music thus matching what the artwork evinces. You might even add that the cover art advertises with accuracy what's to be expected, a thing that can't be often said about other albums within the same genre. On Vrees De Toorn Van De Wezens Verscholen Achter Majestueuze Vleugels however, all aspects appear connected therefore resulting in a completionist charm.

Something this sort has that gatefold vinyl quality, and I would not be surprised to see it released as such but I don't think that will be the case, as to my knowledge it's only set to be offered digitally, on CD and as a single sleeve 12". A wax addict could only wish the former is the case because Vrees De Toorn Van De Wezens Verscholen Achter Majestueuze Vleugels is an honest and dignified attempt at resurrecting and respectably modifying the essence of raw black metal.

Rating: 8.6 out of 10