THKD’s Top 100 Metal Albums #23: Dodheimsgard – A Umbra Omega (Peaceville Records, 2015)

Beginning life as a traditional-sounding Norwegian black metal outfit that featured Darkthrone’s Fenriz on bass , Oslo’s Dodheimsgard have evolved drastically with every release, to the point that if you were to play each of their five full-length recordings to someone who was completely unfamiliar, they’d likely assume they were listening to five different bands. This near-constant state of wild reinvention has made DHG into one of the most fascinating groups to emerge out of Norwegian black metal scene.

After eight long years of silence, the DHG re-emerged with A Umbra Omega, which saw them largely eschewing the industrial trappings of 1999’s groundbreaking 666 International and 2007’s more straightforward but still weird as fuck Supervillian Outcast in favor of a more organic sound that bridged the gap between black metal and dark psychedelia, resulting in five labyrinthine tracks (and a brief intro) that see-saw between light and dark, beauty and ugliness, simplicity and chaos.

Granted, DHG weren’t the first band to attempt psychedelic black metal, but they were the first to pull it off in such a convincing, seamless manner, as there is nothing about A Umbra Omega that feels disjointed or slapped together. There was a tension to Pink Floyd’s best work that often felt like the band was right on the edge of spiraling into madness; DHG answered the question, “what if Gilmour, Waters and Co. had cut loose, piled on the distortion, put on some corpse paint and let the goddamn lunatics run amok?”

A Umbra Omega‘s production scheme is dry and spacious, yet still manages to feel plenty claustrophobic whenever those icy tremolo riffs kick in and Aldrahn starts ranting and raving, at times exhibiting a rickety, clattering quality that makes the full-on black metal sections feel hideously decrepit. The psychedelic sections are impressively layered and mesmerizing; A Umbra Omega reveals new sounds with each and every listen and it’s evident that the album was crafted with the same frighteningly meticulous level of attention to detail that has become DHG’s trademark ever since 666 International.

DHG handily solidified their reputation as the ultimate avant-garde black metal chameleons with A Umbra Omega, delivering one of the genre’s finest albums of the decade in the process. There simply isn’t another band in the Norwegian scene (and arguably beyond) that can top their unwavering dedication to pushing the sonic envelope, and it is this dedication that continues to make A Umbra Omega such a joy to experience.

Read other entries in the THKD Top 100.

Khold – Til Endes (Peaceville Records, 2014)

Since releasing debut album Masterpiss of Pain back in 2001, Norway’s Khold have been constantly refining their patented brand of groove-laden, willfully primitive black metal.  While some have criticized the band for their simplicity, I’ve long been a fan of their stripped down approach; their sound is not only instantly recognizable but also infectious as all get out, the riffs slowly boring their way into your brain and taking up residence therein for days or weeks on end.  Til Endes is Khold’s sixth full-length release and it’s quite possibly the purest distillation of the band’s aesthetic to date.

Interview: ABSCESS (Chris Reifert)

When I sent this interview off to Abscess drummer/vocalist Chris Reifert, I had no idea that it would be among the last interviews ever to be published regarding the band. With the departure of guitarist Clint Bower, the remaining members of Abscess have chosen to deactivate the group and focus their energies on the resurrection of a little band called Autopsy. I spoke with Mr. Reifert via e-mail regarding Abscess’ impressive final statement, The Dawn of Inhumanity, Autopsy and how to turn your mind into runny cream cheese.

THKD: Tell us a little about the new Abscess album, Dawn of Inhumanity. What did you set out to accomplish with this album?

Chris Reifert: We wanted to fuck with your senses, channel out some insanity, cause a disruption with the Earth’s magnetic field, and turn our minds into runny cream cheese all in convienient death metal form.

THKD: Where and when was the new album recorded? How would you describe the process?

CR: It was recorded last year at Fantasy Studios in Berkeley, Ca. Our favorite place to record these days. The process was intense. We squeezed as much work as we could in there to capture the mood we were going for. Various obstacles presented themselves as we went along but we beat them all back with a vengeance and made sure the album prevailed.

THKD: In addition to the death metal/punk approach Abscess is known for, this album incorporates elements that could be called experimental /psychedelic. What inspired you to take the music in this direction?

CR: It just seemed like what we needed to do at that stage. Throughout Abscess recording history, you can hear strange parts here and there along with the brutal sickness, only this time we wanted to dive into the deep end of insanity and inhale deeply.

THKD: Dawn of Inhumanity strikes me as one of those albums that is impossible to pick apart; it should be listened to in one sitting and really takes you on a journey (or maybe a bad trip). Was this intentional?

CR: That was the exact intent and I’m pleased that you heard it that way too. We viewed it as an experience rather than a collection of songs that happened to be on the same record. Great to hear, man!

THKD: What are some of the lyrical themes you explore on this album? How do they tie into the overall concept of Abscess?

CR: As usual with Abscess we dug deep into the backs of our fermented minds to see what was lurking there, waiting to be exposed to the light of day. So it’s not so much themes or stories but rather the bizarre workings of our thought processes on display.

THKD: How would you describe your songwriting process for Abscess? How has your approach evolved or changed since the early Autopsy days?

CR: We always go with what we think the band should be doing at any particular point in time. I guess with Abscess there was a bit of room to experiment and touch on different things as long as the heavy and brutal factors were in place. It’s gotta crush, ya know! Autopsy has more of a strict writing process in the way that it can only 100% horrific, dark and pure death metal. It’s all brutality at the end of the day but both bands have their own beastly ways to be sure.

 THKD: Dennis Dread’s cover artwork for the album is mindblowing. How did you get hooked up with him and who came up with the concept for the cover?

CR: We got his info from a friend up in Oregon who recommended him. Dennis is a killer and unique artist and a really cool person too so working with him is always fantastic.

THKD: In addition to music, you’re also a visual artist. Do the same things that inspire your music inspire your art? Do they influence eachother in any way?

CR: I guess I have a lot of horror in my head and it has to come out however it comes out. When the time comes to write or draw or paint I indulge since those moments come and go when I least expect them sometimes. Gotta catch them before they get away!

THKD: It is my understanding that Dawn of Inhumanity will be the last album released under Darkthrone’s Tyrant Syndicate imprint. Will Abscess continue to work with Peaceville?

CR: Well as it turns out, not only is it the last release for Tyrant Syndicate but it’s also Abscess’ last release in general. We have officially split up as of the beginning of June after 16 years of spreading insanity and sickness. Clint is taking time to get his personal life in order and we wish him only respect with that. There can be no Abscess without Clint, so when he quit, the band had to be deactivated. A shame, really but ‘Dawn of Inhumanity’ is a hell of a way to end things! Autopsy is now going again full force so we will focus on that wholeheartedly.

THKD: You’ve been playing death metal for over two decades now. What do you continue to find inspiring about this style of music? What motivates you?

CR: It just always turns me on. I’m still not sick of it, so why stop? If the day ever comes where I get tired of it, I’ll quit but that sure ain’t happening any time soon! I feel more energized than ever if anything.

THKD: This is a bit off subject, but I have to ask; how did it feel to reunite Autopsy for the headlining performance at this year’s Maryland Deathfest? Do you have any further plans for Autopsy?

CR: In light of things, it’s not off subject at all. We now have MDF under our belts and it went even better than we’d hoped. Not only are all the original maniacs still out there, but there is literally a whole new generation of death metallers into it now which is fucking amazing. Further plans for Autopsy? Yes, quite a few actually……

THKD: What are you listening to these days? Do you have any interests in the current crop of death metal bands that are bring back the old school sound?

CR: I like any band that plays from the heart, whether it’s new or old, metal or not. Whatever gets my blood boiling at the moment. My listening tastes are all over the board to say the least.

THKD: What does the rest of 2010 have in store for Abscess? Will you be touring or working on new material?

CR: I guess we’ll have to let the ‘Dawn of Inhumanity’ album be the last words for Abscess. We are proud as hell of that album and consider it going out on a high note.

THKD: Are there any final thoughts you’d like to add?

CR: Thanks to all who supported and believed in Abscess. Keep our spirit alive and keep an eye out for more devastation from Autopsy. All we can do is offer more brutality……

http://www.myspace.com/abscessband

Interview: DARKTHRONE

Dear readers, please excuse me for a moment while I gush like a complete fanboy. DARKTHRONE is my favorite metal band. Ever. When the PR firm representing Peaceville Records in the USA offered me an e-mail interview with drummer/vocalist/black metal godfather/walking metal & hard rock encyclopedia FENRIZ, I could barely contain my excitement. The following interrogation is what transpired when I was given the opportunity to pique Fenriz’s brain about the excellent new Darkthrone album CIRCLE THE WAGONS , the resurgence of “real” heavy metal in the underground and the importance of making your own breakfast.

THKD: Tell us about the new album, Circle the Wagons. What do you consider to be the main themes/concepts behind the album? How would you describe the album to those who have not yet heard it?

Fenriz: it’s our own kind of heavy metal, it’s Ted’s 4 songs and i never know what influences him. then there’s my 5 songs which mostly sounds like fast heavy metal (speed metal) from 1979-1985. then there’s clear and various ugly vocals and i just realized this didn’t come out very good as an advertisement for our sound – but no one really sounds like us at the moment, i think we are extremely old school and still fresh.

there are no themes, lyrics are about a plethora of subjects, ranging from street lyrics to the soulful stuff (like Black Mountain Totem song).

THKD: You recorded Circle the Wagons at your own Necrohell Studios. What are the advantages of having your own recording space? What is the equipment setup at Necrohell?

Fenriz: i am not a musician, i’m a music personality, so i don’t know anything about equipment, that’s Ted’s department. it’s a portable mini studio and we rig it ourselves and Ted records and mixes it as well – so it’s VERY DIY.DIY HARD!!! haha!! Advantages is that we don’t have the presence of a “studio guy”, we are just by ourselves with the help of our friends Kjella and Mats. It’s Kjellas house, so Ted has to drive 3 hours from the north to get there and i take the bus for 3 hours from the south. Having this studio makes us get our own sound, it’s a guarantee that we don’t end up in a studio where there are modern equipment or some guy that tries to talk us into some new tricks. we keep it old. WITH US, THE OLD WAYS ARE NEAR.