Review by Allan on May 29, 2002.

After releasing the amazing “Eld”, the band took a bit of a turn and created an album of raging black metal. Not preferring to be labeled as black metal, it’s near impossible to deny any influences from the genre. On “Blodhemn”, the band churns out nine tracks of solid black metal that holds as much as or more power than any other band.

Opening with 'Audbumla', it’s not going to get much lighter for a while. The short opener launches you into an aural assault of pulsating black metal. But it’s not just black metal, it’s Enslaved. There are a few things that make this an amazing album, and that push Enslaved to the forefront of the scene. First, they have a distinctive sound that they familiarize you with. The chromatic edge of the guitars that has been here since day one is still here. The sound they put out has the perfect production – not so clean as to lose any atmosphere the band was trying to achieve, but not so bad that there isn’t any clarity. Next, they can actually play at a fast tempo and hold it together perfectly. It’s not just a wall of noise, or a band struggling to play their own music. Thirdly, while playing this blistering music, you can actually feel the emotion in the music. This is a rare thing for many bands of this style. The title track 'Blodhemn' shows this so well in the solo, or all of 'Brishinghamen', along with many others. Fourth, the band can switch moods seamlessly. One minute it could be furious, and then the next in a more epic state that was evident on “Eld”. Lastly, the band injects life into a genre that has been destroyed by a countless amount of bands. Not only is it uncompromising, it still retains melody, talent, drive, and destroys the competition.

The addition of drummer Dirge Rep (Ghenna) is a great thing. His aggressive playing style fits the album so well. The addition of second guitars R. Kronheim has added a new dimension to the band. Both him and Ivar Bjørnson play together perfectly. Their ideas work on a number of different levels. Lastly, singer Grutle Kjellson sticks mainly to his black metal rasp, which is hard to gauge. It’s what you’d expect for the style, but when he goes into his chants they are great. The addition of two members has done the band quite a lot, both on this album and in the future.

Bottom Line: An album that solidified Enslaved among the black metal elite and pleased quite a few fans that liked “Frost”. This is a must have for any fans of black metal, new or old. Enslaved have always been above their contemporaries, and this is no exception.

Categorical Rating Breakdown

Originality: 6.5
Musicianship: 10
Atmosphere: 8
Production: 9
Overall: 7

Overall: 8.1 out of 10

Review by Allan on May 29, 2002.

After releasing the amazing “Eld”, the band took a bit of a turn and created an album of raging black metal. Not preferring to be labeled as black metal, it’s near impossible to deny any influences from the genre. On “Blodhemn”, the band churns out nine tracks of solid black metal that holds as much as or more power than any other band.

Opening with 'Audbumla', it’s not going to get much lighter for a while. The short opener launches you into an aural assault of pulsating black metal. But it’s not just black metal, it’s Enslaved. There are a few things that make this an amazing album, and that push Enslaved to the forefront of the scene. First, they have a distinctive sound that they familiarize you with. The chromatic edge of the guitars that has been here since day one is still here. The sound they put out has the perfect production – not so clean as to lose any atmosphere the band was trying to achieve, but not so bad that there isn’t any clarity. Next, they can actually play at a fast tempo and hold it together perfectly. It’s not just a wall of noise, or a band struggling to play their own music. Thirdly, while playing this blistering music, you can actually feel the emotion in the music. This is a rare thing for many bands of this style. The title track 'Blodhemn' shows this so well in the solo, or all of 'Brishinghamen', along with many others. Fourth, the band can switch moods seamlessly. One minute it could be furious, and then the next in a more epic state that was evident on “Eld”. Lastly, the band injects life into a genre that has been destroyed by a countless amount of bands. Not only is it uncompromising, it still retains melody, talent, drive, and destroys the competition.

The addition of drummer Dirge Rep (Ghenna) is a great thing. His aggressive playing style fits the album so well. The addition of second guitars R. Kronheim has added a new dimension to the band. Both him and Ivar Bjørnson play together perfectly. Their ideas work on a number of different levels. Lastly, singer Grutle Kjellson sticks mainly to his black metal rasp, which is hard to gauge. It’s what you’d expect for the style, but when he goes into his chants they are great. The addition of two members has done the band quite a lot, both on this album and in the future.

Bottom Line: An album that solidified Enslaved among the black metal elite and pleased quite a few fans that liked “Frost”. This is a must have for any fans of black metal, new or old. Enslaved have always been above their contemporaries, and this is no exception.

Categorical Rating Breakdown

Originality: 6.5
Musicianship: 10
Atmosphere: 8
Production: 9
Overall: 7

Overall: 8.1 out of 10

Review by Chris Pratl on September 12, 2018.

Cianide is a hometown legend around my parts. I’ve seen these guys over the years more times than I can remember and have followed various other projects of members past and present. It’s hard to believe it’s been 20-years already since my dear departed friend John McNicholas gave me a Funeral demo and we played it incessantly in cars, bedrooms, basements, parking lots, you name it. I’ll bet the people at the local Jewel hated us for pulling up with this blasting on a daily basis, but I’m sure they’ve forgotten all about us. In any case, in regards to the death/doom genre, Cianide dispels the myth that it can’t be done and carry an entire record without boring or stultifying you.

The early 90’s sound is ever present here, which might otherwise appear dated and unable to advance, but since this sound never really had a chance to be raped or commercialized it can garner a brief pass. The low crunching of a drop-tuned ride through chaotic structure without too much attention to perfection is what makes Gods of Death something worth hearing. The murky feel to the music is always the charm of Cianide and this release is no exception. It follows the slightly slower, grainy efforts of Hell’s Rebirth by relying on attentive tempestuousness as opposed to mindless shredding. “Dead and Rotting” is simply an ugly track filled with musical visuals of disgustingly rancid decay from any and all facets; when music can provide such imaginative elements to accompany the tone you have something there. It doesn’t always work, but it can set a design quite nicely. There’s nothing sincerely attractive in death metal music; one listen to anything Death or Cardiac Arrest solidifies that sentiment, and usually the less attractive music is bodes better for the band. Cianide has always stayed true to the concept without falling through the cracks of commercialism and insipidity. “Contained and Controlled” is the shredder’s delight, pounding riffs and drum beats into your cranium like a rusty railroad spike. This is one of my favorite tracks on the album because it organizes discord to a discernible degree and sets the stage for some serious thrashing around the local supermarket aisles…ah, well, that was a long time ago, but it can still be done! 

Providing a relevant collective some six years after the last full-length, Cianide demolishes the door between death and doom metal the likes of which is rarely done well. “Idolator” is the sort of track that used to drive metal crowds insane in clubs like Medusa’s or the Cubby Bear back in the day, and I definitely see a similar ring of flailing arms and bodies if this song makes the live Cianide set. Bassist/singer Mike Perun’s vocals are the clear guttural efforts that make the music both decipherable and enjoyable; the music is of high caliber and while not on the technical side of proficiency, there’s nothing left to want for if this type of death metal is your particular interest. One listen to “The One True Death” and you’ll understand the motivation and certainly hear elements of Celtic Frost and Hellhammer throughout.

To be honest, I put off reviewing this or reading anything about it for a few weeks because I wanted to hear it with fresh ears since this band is part of my personal history in a large form, and while nothing will ever compare to 1997’s Death, Doom and Destruction Cianide proves itself a long-standing contender for the legend status in any underground conversation.

Rating: 7 out of 10

(Originally written for www.MetalPsalter.com)

Review by Fran on September 9, 2021.

I never thought I’d see the day A Matter Of Life And Death was overthrown as the best reunion era album but it has finally happened. Senjutsu, with all its color and flavor, is a little bit more consistent and way more varied in mood changes. In terms of composition, it is far more well thought out than its predecessor, it seemed like BOS studio sessions were uninspired as they developed all their ideas from scratch in Guillaume Tell’s facilities. This time they had the main motives and themes already written and they just put them together structure-wise with Arry in the studio. The viral promotional campaign for the first single was brilliant, as was the singles’ selection. 'The Writing On The Wall' and 'Stratego' are probably the weakest songs on the album but after listening to them a couple of weeks before, it was way easier to digest them alongside the rest of the tracks.

As a whole, Senjutsu is a tribute to Iron Maiden’s entire career but still sounding fresh and vital as you can expect from the greatest heavy metal band ever, the genre’s epitome. It is heavy and technical, full of progressive undertones and some references to their previous albums, not rehashed though. Adrian Smith’s guitar work and soloing is top notch and after listening to Smith/Kotzen’s album I knew his interpretation was going to be absolutely fantastic as he is in top form and both albums were recorded a few months away. He shares composition credits with Bruce on the first single, 'Days Of Future Past' -the heavy rocker of the record- and 'Darkest Hour' which is kind of a dark power ballad. Davey isn’t credited on any song, but you can hear his leads accompanying the vocal melodies throughout the whole record, and his soloing is as inspired as it was in 1983. Janick wrote 'Stratego' and 'The Time Machine' with Arry, his trademark acoustic intro style can be noted on the second and his intense, out of the box riffing is fully heard on the first; as well as his crazy soloing.

Arry monopolized song credits probably because he arranged every track’s structure but at the same time, he let the other member’s ideas flow and his own songs are simply amazing. 'Lost In A Lost World' for example, features the traditional “quiet intro-verses-instrumental break-heavy part-solos-quiet outro” structure, marvelously done. The use of witty bridges is remarkable and distances Senjutsu from its predecessor, which was certainly flawed. There aren’t bass solos or particularly interesting bass fills by themselves but the use of the acoustic bass and the composition in general is out of this world. Bruce’s vocal performance is monolithic, titanic, gigantic. Vocals are so epic that at times it feels like they are bigger than the songs themselves. Lyrics are so touching that they would make you wanna cry as you try to go along with them. Despite being 70 years old, Nicko’s performance is brutal. Senjutsu features tribal rhythmic arrangements like I have never heard before.

Overall, I would say this record was thought and written for the loyal hardcore fanbase, those who equally enjoy The X Factor and Powerslave… this one goes to all of us. UP THE IRONS, DOWN TO HELL!

Rating: 9.5 out of 10