Ov Hell - The Underworld Regime : Black Metal

Reviewed by Gird_09


The second product to be released after the aformentioned conflict over the brand name Gorgoroth is Ov Hell's The Underworld Regime. Ov Hell was originally planned as a collaboration between Gaahl (vocals) and King ov Hell (bass), called God Seed. Gaahl bowed out however, and King ov Hell recruited Shagrath of Dimmu Borgir fame to do the vocals for the a new project Ov Hell. This knowledge, toghether with the cover of the album makes me fairly sceptical. Dimmu Borgir hasn't exactly won my heart over – you might say. Ov Hell has been dubbed a supergroup, which is no wonder considering the names on the sleeve, and the projects they've worked with. In addition to King ov Hell and Shagrath Ice Dale (Enslaved etc), Teloch (Umoral etc) and Frost (Satyricon, 1349 etc) have contributed extensiviely, while Silenoz, also from Dimmu Borgir has written some of the lyrics.

Thankfully however Ov Hell doesn't sound like Dimmu Borgir part two. Ov Hell is less infantile (with the screaming obvious exception of the track Hill Norge) and less over produced or over arranged. Still, it does retain some of the pompousness of Shagrath's more well known project – especially in visual design. The musicians are more than capable, and there is no way to fault the music, or production. To me the music sounds like a half breed child of Immortal and Dimmu Borgir, with Frost on drums, and that's all well and fine, if a bit redundant. I would much rather recommend Immortal's latest album "All Shall Fall", a much better album in the same landscape.

The tracks Invoker and Krigsatte Faner stand out as the most interesting tracks to my ears, as they have more drive and weight than the rest of the album. While tracks like Post Modern Sadist feels a bit too over the top. The progressive elements detract from the energy of the music, while the complexities aren't developed enough to merit attraction on their own. I'm glad most of the album leaves out the temptation to toy further with these elements. The final track, Hill Norge, however, is quite simply embarrassing and childish, and would've been better left at the scrap heap.

The result is something akin to pop-black-metal, and I'm certain it will strike a nerve with a great deal of listeners. Personally I don't feel it, but I think it's a simple matter of taste. I'd prefer more brutality and more credible "darkness" – for a lack of better words. It's definately not a bad album though and I'm sure I would have a different reaction if it were released a decade ago. Now however it feels a bit like something I've heard too many times.

Norway, Indie Recordings, CD Album 2010

1 Devil's Harlot
2 Post Modern Sadist
3 Invoker
4 Perpetual Night
5 Ghosting
6 Acts of Sin
7 Krigsatte Faner
8 Hill Norge

http://www.myspace.com/indierecordings
http://www.ovhell.com/

Gorgoroth – Quantos Possunt ad Satanitatem Trahunt : Black Metal

Reviewed by Gird_09

The prolonged conflict over the legal rights to the name Gorgoroth was well publisized and doesn't need a reiteration here. Personally I have to admit I was unsure what Gorgoroth would be without Gaahl. Granted, he was only the band's vocalist for a limited time, but the way I see it that particular period was their prime.

However, from first note of this record my fears are dispersed. The extreme aggression is in no ways dimished, and Pest (the original vocalist) certainly knows his stuff. His style is different from Gaahl's and the change in sensibility is clearly discernable, and though I personally find Ad Majorem Satanas Gloriam to be their absolute best album this one is certainly a head above most anything that goes on in the metal scene today. The style is more melodic and slower, and perhaps closer to "classical" black metal – but more mature sounding. As such the album is an absolute success, though I am afraid it might also be a bit anonymous compared to earlier efforts. A consistent feature with Gorgoroth over the years has been intense beats, despite going through quite a number of different drummers. I am happy to say that this album continues in that vein.

In fact, considering the number of musicians that have at one point been associated with Gorgoroth it's an impressive feat from Infernus to maintain this level of musical quality and consistency over the years.

If there is anything I miss it would have to greater variation. It's good moody album, but I do have trouble seperating between the songs after the first listen. Knowing that the album was formed over such a long period, and during the aforementioned conflict makes this quite understandable, but still it does detract somewhat from the final product. Tracks like Aneuthanasia, Satan-Prometheus and Introibo ad Altarare Satanas easily stand out as the ones with most personality, while the others tend towards some degree of anonymity. (Sadly the final track is both the strongest and the shortest one.)

The album cover is a tasteful and minimalist rendition of a skull, with the band logo beneath it. Some of Gorgoroth's covers have been arty and more reminicent of something you'd expect from industrial ambient – while others have been more metal'ish. This cover is a blend between the two, and the imagery serves well to communicate the uncompromising bleakness of the band.

The album is no longer news however, as it was released nearly a year ago and we are allready eagerly awaiting a follow up – tentatively set to be released next year. Only time will if the conflict has damaged Gorgoroth as a "brand", but judging by Quantos Possunt ad Satanitatem Trahunt Infernus will keep the name at the forefront of contemporary black metal for some time to come. We can only hope that this album is a new beginning and not a swansong.

Norway, CD album, Regain Records, 2009

1 Aneuthanasia
2 Prayer
3 Rebirth
4 Building a Man
5 New Breed
6 Cleansing Fire
7 Human Sacrifice
8 Satan-Prometheus
9 Introibo ad Alatare Satanas

http://gorgoroth.info/
http://www.regainrecords.com