Review Summary: A simple, pensive take on black metal’s primitive power.
The forests of the North have their appeal, but Norway’s Vemod look to the sky for their inspiration. Amassing influence from the likes of Ulver, Paysage d'Hiver, Dead Can Dance, and Brian Eno, the Trondheim trio pursues a distinct expression and aesthetic within the vast world that is atmospheric music by interlacing black metal with a trance-like, meditative leaning. This marriage of dark, ethereal metal and ambient soundscapes is strikingly and unevenly showcased on their 2012 debut,
Venter På Stormene.
Incrementally recorded to analog tape between 2008 and 2011, this four-track offering sees the band fueling their contemplations of the beyond by yoking the traditions established by those who came before. The heralding title track and its successor, “Ikledd Evighetens Kappe”, find the band realizing their vision in full. Cyclical, entrancing riffs summon cerebral mosaics of cosmic grandeur as driving rhythms, far-off rasps and howls, and intermittent lofty chants pin the listener to earth with cold intensity. Organ and synthesizer interludes fixate on the flickering waves of the aurora borealis before the onslaught is restored. The overall impression is invigorating. Throughout these unearthly hymns, rather than being lulling, Vemod retain their force with Darkspace-like aplomb, delivering a performance that at times borders on sublime.
Unfortunately, the momentum founders somewhat in the record’s latter half, as hints of ambient black metal’s more typical genre tropes seep into the songwriting. The resonant drones and undulating swirls of keyboard that distinguish the protracted “Altets tempel”, although initially engaging and effective, are almost entirely enervated by the track’s runtime. Quite simply, the themes may have been better represented if condensed into a five- or six-minute reprieve instead of a 13-minute rumination. The closing number disrupts the mounting monotony to a degree with its intriguing mix of clean arpeggios, pulsing bass, and hypnotic beats; however, during its promising ascent to the finale, the arrangement ultimately succumbs to an all too familiar riff adorned with the well-worn frills of blackgaze.
Vemod may be trying to find a footing in an increasingly crowded genre, but they are off to a good start. By addressing black metal’s primitive power from a simple yet effective minimalist angle, these newcomers have produced an admirable contribution with
Venter På Stormene.
