Review by Dominik on July 26, 2026.

After having worked my way through Árstíðir Lífsins’ latest EP, it only makes sense to continue this effort and take a closer look at the band’s latest full-length release as well. “Aldrlok” is the band’s 2024 offering and presents us with a double CD containing more than eighty minutes of sophisticated black metal, still deeply rooted in Icelandic history, mythology, and ancient storytelling traditions. By now, Árstíðir Lífsins have carved out their own unmistakable sound, and “Aldrlok” does not attempt to reinvent the wheel. I am deeply thankful for that, because watching this particular wheel being reinvented would probably involve a three-hour ritual in an abandoned Icelandic valley. The band continues to operate within the framework they have spent years putting together. Like on previous albums, aggressive black metal passages alternate with crushing slower sections. All of that, together with atmospheric folk elements and some traditional instrumentation, blend together into a carefully constructed musical narrative. It feels like a forgotten saga being told around a fire by someone who probably has not smiled since the 11th century.

The songwriting remains ambitious and, more importantly, convincing. I know few bands that manage to combine these elements so naturally without sounding like they assembled their music by throwing black metal records and history books into a blender. However, there is also the other side of the coin. “Aldrlok” is not an album interested in making life easy for the listener. The band does not care about your or my convenience. Do you have a short attention span or the ubiquitous expectation that every song should deliver immediate gratification before you move on to the next TikTok video? Bad luck! Instead, Árstíðir Lífsins demands patience, in fact quite a lot of it. The band requires dedication, and a willingness to fully immerse yourself in the material. So, if you are still reading this review while waiting for me to reveal that the next Marduk tank division has arrived and flattened everything in its path, you should probably continue searching. “Aldrlok” is not a battlefield assault. It is more like a journey through an ancient frozen landscape where occasionally the guide stops walking for ten minutes because a raven appeared and apparently has something important to say.

What is new? Compared to the previously mentioned EP, the biggest difference is the way the band pushes their own trademarks further. The folkloric and narrative elements receive even more space, sometimes dominating entire sections of songs. The opening track, “Hvítir hjǫrvar Heimdalls aldraðra fjallgylða” (according to the immeasurable depths of the internet, to be loosely translated as “The White Swords of Heimdall's Ancient Mountain Spirits”) is the perfect example (of course, I could have saved you from another ridiculous song title and simply call it “track one”, but where would be the fun in that? Also, adding ancient Icelandic titles conveniently helps me to increase the word count, which every respectable reviewer secretly appreciates). The introduction alone takes several minutes to unfold, establishing atmosphere and storytelling before the black metallic elements finally enter the stage. You have to be a sucker for such slow build-ups, and I get it that while some listeners will appreciate the patience and atmosphere, others might have already finished reading a chapter of a book and answered messages they ignored for three days before the song reaches its full black metal potential.

“Stormr, hvítundit grand grundar gjálfrs” is a more immediate affair and showcases another area where the band has evolved (I will spare you translations from now on, as this kind of Skaldic poetry seems to be for the few diehards out there, who chew on old Nordic runes for breakfast). The band increasingly works with different vocal approaches, where Icelandic chanting and cleaner vocals are being used alongside the traditional black metal screams and rasping. This additional variety gives the songs more depth. It furthermore strengthens the impression that the album is not simply a loose collection of tracks, but rather one continuous story. The song also underlines the immaculate performance of the drummer. He works himself through different tempi, breaks, and rhythms with ease. The unavoidable acoustic break doesn´t break the momentum, but rather seamlessly introduces a new motif as the song progresses. Towards the end, the vocals move into almost Viking-war-chant territory, without coming across as theatrical.

By now it should be obvious that “Aldrlok”, like previous releases, presents itself as a carefully crafted journey through old Icelandic folklore, legends, and dark narratives. If there is a weakness, it is the band's sporadic inability to distinguish between atmosphere and excess. Compared to the band´s earlier works, the album occasionally stretches certain ideas beyond my endurable limits. Some acoustic passages and atmospheric sections are undoubtedly brilliant and meaningful, but at times they enter the dangerous territory of “this undoubtedly has artistic merit, but perhaps only for the artist”.

The closing track of the first disc, “Nú er lengstu miskunndir dalreyðar ná hátindi” is one of those examples. Several minutes of ritualistic narration and ominous background atmosphere create the intended mood, but they also provide a serious challenge for my concentration. At this point, even the most dedicated fan might briefly wonder whether the album is still playing or whether they have accidentally entered a historical reenactment of a Viking funeral. “Ek sneri aftr til golfhǫlkvis fleygra sárelda heiftar“ adds to the pile of fluff, being yet another acoustic interlude wanting to be a song.

Thankfully, the second disc immediately reminds us how effective Árstíðir Lífsins can be when they focus their ideas. “Nauð greyprs élreka” opens aggressively, moves into a powerful mid-tempo section driven by excellent double bass work, circles back to speed, and manages to capture your attention immediately. Its relative brevity works completely in its favor. The song feels direct, is memorable, and after several listens even approaches the forbidden territory of being genuinely catchy. What is dangerous, I agree, because admitting that a song with a title looking like a keyboard malfunction is catchy feels slightly ridiculous. A last standout arrives with “Fyrsta fǫnnin fellr úr hátunnu regns”. Here again the band's strengths align perfectly: memorable riffs, dynamic songwriting, impressive drumming, subtle violin arrangements, and transitions that feel purposeful rather than obligatory. It captures everything that makes Árstíðir Lífsins such a rewarding band when they are operating at full strength.

In the end, “Aldrlok” remains a highly impressive release. It is carefully composed and filled to the brim with musical ideas. The excellent artwork and physical presentation further support the overall experience. That my final rating ends up slightly below the preceding EP has to do with my personal challenge that here and there the release disappears so far into its own artistic ambitions that it risks leaving listeners like me behind in the snow. Still, anyone who likes sophisticated black metal with depth, folk influences, and a willingness to take the long road will find plenty to enjoy here. This is music for listeners who do not mind putting in some effort. If you belong to that group, feel free to add a few points to my rating.

Rating: 79/100, because “Aldrlok” proves that occasionally the journey matters more than the destination. And yes, sometimes less would have been more, but then Árstíðir Lífsins would probably have written another twenty minutes explaining why less is a modern illusion invented by impatient people.

Rating: 7.9 out of 10