Review by Kostas on January 25, 2021.

The years that followed the release of All Shall Fall were characterised by unparalleled drama and controversy when it comes to Immortal. Eventually, after the departure of Abbath and the release of his own solo album, it was time for Demonaz and Horgh to make the next step, Northern Chaos Gods. An album which proved that the band still goes on, despite any hardship or awkward past release.

First things first, the production is incredible. Mixing, mastering and sound quality in general are all excellent, offering an outstanding musical experience. Especially if we take into consideration the confusing low quality past records of Immortal. The listener is finally able to enjoy every riff, every vocal part and every instrument separately. Probably what this listener is going to notice first is the difference when it comes to the singer's voice. Abbath is gone for good and Demonaz with his high-pitched harsh vocals seems to have brought the music to a whole new level. Without weird wannabe evil screams, without ups and downs, he is just the appropriate vocalist for this notorious black metal band and should have maybe taken over much earlier.

The rest of the music does not differ that much from All Shall Fall or other older albums. We have the same cold and grim catchy riffs, repetitive melodies and the classic considerable amount of blast beats. Okay, I have to admit it was the first time I was able to appreciate the bass lines to such an extent, but that's pretty much it. Rather simplistic yet very enjoyable, most songs bear more than one element you have heard again by the band. However, it is only now that they have evolved into fully mature and serious compositions. From the aggressive title track to the epic 'Mighty Ravendark', everything that made Immortal legendary exists in this record, just without mistakes or ridiculous snowmen walking like crabs in music videos. If there is one big complaint I have for these Norwegians is the fact that after 27 whole years, they never even tried to have some variety at least when it comes to the lyrics. But I guess it's already too late and Blashyrkh will get angry if Immortal abandons Him.

Anyway, Northern Chaos Gods is a great album. Even if there is not really anything that innovative or new, it is the one and only serious and mature black metal album by Immortal. One that anyone who loves metal should listen to in order to enjoy without limits many melodies and songs they won't have a chance to find anywhere else.

Rating: 7.9 out of 10

Review by Fran on January 25, 2021.

This is easily the best record released by Immortal since At the Heart of Winter. Abbath’s departure paved the way for Demonaz to return to their original artistic direction, so this album is pretty much like Pure Holocaust with better production. The musical concept is naturally old school black metal, Norwegian style: haunting sense of harmony -never lowering it's tension regardless of the pace of the song- wicked arpeggios to decorate strident chord progression, cold atmospheres in slow passages and a fair share of extreme metal percussion brutality in fast parts too. The melodic facet of the band we heard on At the Heart of Winter was dismissed in the songwriting this time. Even though black metal has a wider sense of melody by definition (compared with the rest of the extreme music subgenres) in this record harmony is achieved mainly by open chords and arpeggios rather than traditional scraped melodic lead guitar lines.

The riffing in heavier parts is built upon fast palm mute picking, power chords and arpeggios; simple and effective, that's where the blast beats kick in. The album is full of short and direct songs, fast and aggressive. Obviously there are melancholic mid-paced sections like the album closer 'Mighty Ravendark' (nine minutes long) that give contrast and variety to the album but I would say the first single 'Northern Chaos Gods' is more representative of the album, ultra fast and mean. The drumming is top notch, not extremely technical but neatly executed despite the insane high tempos. The recording of the percussion was also done perfectly: the double bass drums, snare, toms and cymbals sound natural and acoustic. The performer dynamics were captured perfectly and not compressed at all, it's his playing which is mechanical, I love that.

Bass duties in this album were handled by Peter Tägtgren. Composition wise, bass guitar is a mere companion and there aren't any elaborated arrangements that make it stand out over the guitar riffs but the highly recognizable crunchy and bright sound of the pick hitting the strings and the strings hitting the fretboard they achieved makes it cut through the mix, adding presence to the bass track despite its simplicity. Guitars are heavily distorted as you can expect, acid but thick; pretty balanced. Vocals are mainly high pitched shrieks, traditional from black metal and are properly delivered. There's nothing here we've never heard before yet it's still extremely enjoyable and full of attitude and renewed energy.

Rating: 8.8 out of 10

Review by Felix on May 10, 2019.

Immortal. A name that tears the silence apart. Northern Chaos Gods. A thunderous promise of another icy load of black metal. So far, so good. However, comeback albums can be pretty ambivalent. Some yesterday's heroes have forgotten their roots, some other are caught in their own past and the most miserable clowns just want to make a quick buck by releasing a collection of lukewarm compositions under the banner of a once great name. Immortal, that's for sure, do not belong to those hordes that are heading for new shores. The album title and especially the song names nearly appear as a parody ("Grim and Dark", Into Battle Ride", "Called to Ice" and so on). But, and that's the crucial thing, they also avoid any form of misery with great ease. Moreover, the album does not lack highlights.

The ultra-aggressive title track sounds like thousands of whiplashes which are combined with the hoarse growling of a bulldog. No doubt, the Battles in the North are raging again and the chorus shines with recognition value, although it does not even possess the smallest form of a melody. "Mighty Ravendark" is the best and most powerful homage to the "Blood Fire Death"-art of Quorthon (R.I.P.) since the invention of Norwegian blackness. I admit that it lies in very close proximity to the title track of the Swedish role model's eponymous work, both in terms of musical approach and aesthetics. Yet even a slavish imitation would add value to the album, as long as it is well done, because Quorthon once set the bar very high. I further admit that this track sends shivers down my spine due to its fascinating vibes that mix triumph and grimness, its epic touch and the dramatic sequences that show up in abundance. The vocals, equipped with a massive reverb, reflect the coldness of the Northern winter landscapes and there can be no doubt that this mid-paced monument honors the imaginary home of the band in a worthy manner. "Gates to Blashyrkh", to give one last example, is a close relative of "Mighty Ravendark", even though it holds a few elements of "Tragedies Blows at Horizon" as well. Its rather relaxed tempo meets somewhat scary riffs and the good flow of the verses is remarkable as well.

Götz Kühnemund, the most popular and maybe most authentic German journalist has recently made an interview with the Norwegian duo. Among other things, Demonaz says that he has the feeling the album can open a new chapter in the history of the band. On the one hand, this is correct, because Immortal are back from the dead and Northern Chaos Gods shows both their unbroken attitude and their instinct for well-designed songs which combine natural forces with clear structures and majestic feelings with sheer insanity. On the other hand, the statement of Demonaz could not be more improper, because Immortal present on the new album nothing but Immortal, Immortal, and, you guessed it, Immortal. They have not changed a iota of their way of proceeding. Honestly speaking, this is exactly what I expected  and any other sound would have been an incalculable risk for the band, their record company (money rules) and last but not least the fans. And even if we were living in a better world without commercial aspects: this is the kind of music that embodies the image of Immortal perfectly. And it is good to know that the metal community does not only have loyal fans, but also some loyal bands.

During the fastest sections, the marginally dull production appears as a blizzard - dense, ice-cold and stormy. During the other parts, the robust and powerful sound creates either a fierce or a gloomy aura. Sometimes I am not sure whether Blashyrkh is still an imagination. It seems as if it has become real over the last 25 years, at least this typical Blahyrhkhian sound. One can discuss whether or not Immortal have a unique status in the black scene, but their lyrical concept has always been unique, maybe slightly infantile at the beginning, but its consistent implementation deserves respect. Enough written. Northern Chaos Gods has everything it needs to reinforce the catalogue of the Scandinavians and, thank God, it has nothing in common with the erratic riffing of their nadir from 1997. It is a monument to themselves and a worthy comeback.

Rating: 8.8 out of 10

Appendix - thanks to a cold-blooded indiscretion, I already know the track list of their next album (scheduled for 2029): 
"Demonaz Winter Battle / Storming Through Blashyrk and Holocaust Winds / Chaos of Northern Sons / Grim and Dark Part II / Drim and Gark Part I (lyrics in Blashyrkian) / Frostbitten, Twice Shy / Icy Ravenrealm Darkness / Kings of the Northern and Even More Northern Mountains".

Great times lie ahead!

Review by Alex on July 8, 2018.

As much as I appreciate Abbath's performance throughout his existence in Immortal, credit must be bestowed upon Demonaz for rivaling his contribution particularly on At The Heart of Winter and Diabolical Fullmoon Mysticism. I mention those albums because Northern Chaos Gods sounds like a fusion of the two with more of the music throwing strong hints at their 1999 release. Upon receiving information that Immortal was in the process of recording a 2018 release, I was very pessimistic of how it would turn out. Though Demonaz' self titled band did impress me with March of The Norse, having to fulfill the duties of an absent Abbath and still overcome the task of making the album fit within the Immortal catalog would not be easy. I've had at least 3 thorough listening sessions of Northern Chaos Gods and it is with great disbelief that I'm at the point of comparing and ranking it against At The Heart of Winter and following releases. Though not better than the first 3 Immortal offerings in my opinion, they are still highly regarded in the Immortal archive. Demonaz has gone above and beyond with Northern Chaos Gods, he has encapsulated that recognizable Immortal feeling and even go as far as creating an entity that is better than At The Heart of Winter and All Shall Fall.

The music on Northern Chaos Gods immediately institutes the Immortal feeling so many supporters of the band love. This served of great importance where acquiring the trust of the legions is concerned; any diversion from what is expected could easily result in massive backfire and overwhelming negative feedback. As mentioned before, Demonaz is also involved with his solo project and the bigger issue being Abbath is no longer an active member of Immortal thus reinstating the importance of Demonaz' and Horgh's precise and careful undertaking. Preventing the album from echoing a Demonaz project/entry and bearing the burden of competing with Abbath vocally and instrumentally would prove to be two defining factors in the success of Northern Chaos Gods. All this could easily contribute to the demise of this latest release that has so much pressure leaning against it. 

Speed is the primary focus of the opening moments on Northern Chaos Gods. No problem here; Horgh brings a blistering blast beat barrage that firmly affixes the staple blueprint of Immortal's aggressive technique. A moment is taken to paint the atmosphere and build the landscapes via "Gates to Blashyrkh". Once the pillars had fallen into their rightful places, the Immortal identity revealed itself whole-fully to the listener. During the time spent listening to the first half of the record, similarities amongst All Shall Fall, At the Heart of Winter and Diabolical Fullmoon Mysticism presented themselves in an entwined manner. Some entries sound like a collaboration of past Immortal songs such as, "Where Dark and Light Don't Differ", "The Call of The Wintermoon" and "Tragedies Blows At Horizon". Given its Summer at the time of listening to Northern Chaos Gods, the atmosphere emerging from the album is so strong that Winter felt ever so near and imminent; as though Autumn was approaching its departure. Vocally, Demonaz sounds like an undertone blend of Abbath on Immortal's 1992 debut full length release, Diabolical Fullmoon Mysticism and arguably their most critically acclaimed album At The Heart of Winter. His guitar and vocal skills matched with Horgh's ability to blast away and to play along to mid tempo and mid paced sections with efficacy that licensed a resolute and comprehensive addition to the Immortal inventory. The sound quality on the album echoes At The Heart of Winter but with slightly improved clarity and a meaty bass tone. This production worked well and definitely finalized the output positively. 

Northern Chaos Gods is certainly an album that can stand firmly amongst the best albums Immortal have accumulated. It will be a highly debatable album in terms of musical supremacy amongst metal critics, enthusiast and regular fans of the genre and band. 

Rating: 9.2 out of 10

Review by Yener on July 4, 2019.

Nile are one of those bands that you can never just get enough of. Though their album, Annihilation of the Wicked was released only back in 2005, it seems like ages. Easily one of the most original and talented bands in Metal today, Nile step up to the plate yet again, and like always, they don’t fuck around. At all.

The boys from South Carolina return with their 5th studio album, Ithyphallic, and one great piece of news right off the bat is that this is the first Nile album ever to feature the same drummer two times in a row, and considering that the drummer is George Kollias, that is a very, very good thing.

One of the first things that caught my attention about this album is that the general production and sound mix is much better than it was on Annihilation.. The guitars still sound amazing, the drums can be heard loudly and clearly, and the general tone of the album is pretty old-school and raw, though it manages still to sound thick without the mud. Everything sounds crystal clear and it gives has a nice “oomph!” to it.

The songwriting itself is still classic Nile in all of their death metal glory, with quite a few new twists and turns thrown in for good measure. A lot of people complained that Annihilation... didn’t have enough of the old Egyptian sounding passages in it, so when the albums first track, “What May Be Safely Written” kicks in, a knowing smile should grace the face of just about any Nile fan out there. Boasting an intro so flawless and so brutal, you feel like you’re marching to an epic battle. And in a way, you are – because at 1:08 into the song all hell breaks loose, and you’re trapped in a frenzy of guitar riffs twisting and turning like electric eels, and blast-beats played with such silly precision that it’s setting pretty ridiculous standards. Clocking in at 8:15, it’s easily one of Nile’s most epic songs written to date. Karl finishes the song off with a pretty outstanding guitar solo.

That’s right. Death metal’s most lethal band is back to show everyone else what’s up. And what better way to do it than “As He Creates, So He Destroys”? Easily one of my favorite songs from the album, the riffage in this one is simply incredible. Riff after riff, it’s just relentless. It takes you by the neck and slams your face into the pavement. The vocals are spectacular and sound clean and well defined, and just listening to George perform his wizardry is enough to please any drum fanatic. The first lead kicks in at 1:41 (played by Dallas) and though it’s short, the bends and the feeling of it all adds a lot of character to the song. The riff at 2:17 is also notable to mention as it slays, and the passages at 2:29 and 2:36 as priceless and planned out extremely well and executed even better. The chant at 3:19 makes this song sure to be a live favorite, and riff underneath the chants are heavy enough to rattle the very calcium from your teeth.

The title track kicks in next, accompanied by a very tasteful guitar riff. The song is one of the slower cuts from the album, which mostly grooves instead of blasts. The riff at 1:05 is creepy as fuck and it probably one of the best riffs on the entire album. Karl and Dallas have perfected both of their playing and songwriting styles, with very delicate nuances of sound laid deep in the guitar riffs and harmonies. The impressive thing about this song in particular is how well the riffs just seem to flow into each other. Despite being quite complex in nature, none of it sounds forced and it just flows out of your speakers like a stream of water.

Next up is the first single from the album, and also the first track presented as a preview to the fans. “Papyrus Containing the Spell to Preserve It’s Possessor Against Attacks From He Who is in the Water” kicks in with its ingenious harmony line, then launched into full blown death metal orgasm as George totally annihilates the damn place with the sheer speed, ferocity and tightness of his single-footed blasts. It’s just amazing to listen to, and the riffs on top of it all chop and slice away with little to zero mercy, shredding the very skin off of your bones. Dallas’ vocals are just as impressive as ever, and he paves the way through most of the song.

Now, believe it or not, this is where the album gets really, really interesting. “Eat of the Dead” slowly slides and slithers out of your speakers. What you’re hearing is an 11-string fretless electric guitar, in the hands of its master and creator. Melodies of sickness are belched forth from this beast that just makes you feel uncomfortable. Though the song picks up the pace a little after the intro, it slows down yet again for some of the most memorable bits on the entire album. The section at 2:19 totally caught me off guard and launched into a speedy section right out of the blue, only to slow down again after a short while, only to slow down even further at 2:48. In all fairness and honest, this song boasts one of the best and most original sections Nile has ever come up with. The part I’m talking about starts at 4:33 and continues until the end of the song. The guitar lines here are slow and haunting, and crafted with brilliance. George contributes with some tribal sounding drums, and Karl delivers a fucking frightening vocal passage between the chants. The whole thing is very well structured and like I said, one of the most precious moments on the album.

With “Eat of the Dead” leaving you in a state of horror and emptiness, “Laying Fire Upon Apep” will quickly cleanse you of those feelings. Another incredible intro with some spectacular jazzy drum fills by George, then the band launches once again into a riff that could have only been crafted by Nile. The riff at 0:48 is also has a very militaristic feel to it, and the general feeling is of power and dominance, which is exactly what this song does. Another impressive solo from Karl, then another spectacular riff right after. In fact, I have no idea how they did that sound at exactly 2:27. It sounds like the riff is being played while raising the tone a few pitches with the Floyd, or maybe it’s even Karl bending the strings down hard on his scalloped frets. Whatever it is, it sounds fucking awesome. Speaking of Karl, he adds yet another spectacular vocal performance near the end of the song, and if there is one thing I can never get enough of, it’s Karl’s vocals.

“The Essential Salts” simply blasts its way out of your speakers and launches into yet another riff which will cause your jaw to drop to the floor by its sheer ferocity. It really does feel like you’re being hacked to pieces under the hot, burning sun. Nile is all about the brutality and atmosphere, and they capture both of these elements on tape exceptionally well. One of my favorite moments here starts at 1:26 with a flawless transition of riffs, and continues to 1:36, exactly 10 seconds, until George sets the whole thing off again which literally sounds like drum explosion in your face. Speaking of George, the double blast beat he does at 1:55 is pretty damn impressive. Karl’s lead kicks in at 2:26, and all I can say is that it sounds very relaxed, like his hands have really loosened up; no strain can be heard, and the whole thing just sounds pretty damn effortless. 

“The Infinity of Stone” is a short and extremely well performed acoustic instrumental piece. Accompanied by tribal drums and various other sounds, it’s a great atmosphere piece which creates a nice introduction to the ridiculous carnage which is only known as “The Language of the Shadows…” my favorite track on the album. The intro is one of the best, if not the best, intros Nile has ever written. The song then flows into the verse, and the thing to note here is actually not the melody on top of the riff, but the riff itself in the background – it sounds fucking evil. It sounds like it was recorded in the very depths of hell, and it chops, hacks and slices mercilessly with its “wall of sound” guitar approach. Incredible, but the song is far from over. The section at 1:10 kicks the song into another gear entirely and blasts and grinds its way through your skull. Now, the first guitar solo which kicks in completely rapes, and I thought it was played by Karl, which when in fact it’s Dallas. I have no words to describe this one; its just pure, raw emotion delivered and presented in such a honest and barbaric way that I can do nothing but shake my head in awe at the thing. It’s priceless, timeless. Anything else and the song would just not be the same. The way the last notes of the lead sustain across the next verse... it’s just so goddamn perfect. Nile are at the top of their game, and they deserve every bit of credit and praise thrown at them.

The final track on the album, “Even the Gods Must Die” really is something else. A full blown, epic intro sets the tone for another grinding piece of death metal. All of the riffs here work together very nicely and effortlessly and is a nice build up to the chant at 5:34. However, the highlight of this song for me is definitely the outro, and you know something special is coming up when everyone else backs off and Karl Sanders steps up to the plate. The tribal drumming and acoustic guitar are introduced first, then Karl starts wailing away with all he’s got – and that’s quite a lot. Just listen to the solo, carefully, and you’ll quickly realize just how damn special it is. From the slow, slithering Eastern melodies, to the high-pitched squeals, everything sounds perfect, and his guitar tone is aggressive yet elegant. All of this last for nearly 3 minutes; just Karl and his own ancient civilization... which sounds like it’s just been fucking totaled and left to rot under the hot, relentless sun.

Rating: 9.8 out of 10