Slagmaur, a self-described origins black metal band, from Norway, released one of my favorite albums of 2009:
Von Rov Shelter. This album is an effective example of what I like to descriptively label left-of-center black metal, which is, essentially, an interpretation of the generic template of black metal to produce something that approximates originality—or, at the very least, lends the genre something of uniqueness or peculiarity, as well as cutting an identity for the band against other bands operating within the genre. To be sure, the native conventions of black metal are present in this album, most notably the raspy vocals of Aatselgribb and the attendant horror imagery, but what makes them unique is the oddly distorted guitar lines and common-time drum programming that heavily exploits the ride, china, and crash symbols in hypnotic fashion. Also adding to Slagmaur’s matrix of sound are classical instruments, most notably a cello and violin, but this element is thankfully not overused, as such instrumentation is reserved for contributing to the album’s thesis of foreboding atmosphere rather than trying falsely to imbue the album with any semblance of classical pretension. So, the bottom line is that if you are a fan of the more muscular brand of black metal, this album will more than likely not be the shot of testosterone you require, but if you are a fan of left-of-center black metal (or if you need a break from typical black metal), this album deserves your attention. I do have to say, though, that you have not lived until you hear quoted text from the classic fairytale The
Three Little Pigs conveyed in black-metal vocals style in the song “Lange Knivers Natt,”: “I’ll huff, and I’ll puff, and I’ll blow your house in.” / “Not by the hair of my chinny chin chin.” This quotation alone ought to have elicited your interest!
Slagmaur, a self-described origins black metal band, from Norway, released one of my favorite albums of 2009: Von Rov Shelter. This album is an effective example of what I like to descriptively label left-of-center black metal, which is, essentially, an interpretation of the generic template of black metal to produce something that approximates originality—or, at the very least, lends the genre something of uniqueness or peculiarity, as well as cutting an identity for the band against other bands operating within the genre. To be sure, the native conventions of black metal are present in this album, most notably the raspy vocals of Aatselgribb and the attendant horror imagery, but what makes them unique is the oddly distorted guitar lines and common-time drum programming that heavily exploits the ride, china, and crash symbols in hypnotic fashion. Also adding to Slagmaur’s matrix of sound are classical instruments, most notably a cello and violin, but this element is thankfully not overused, as such instrumentation is reserved for contributing to the album’s thesis of foreboding atmosphere rather than trying falsely to imbue the album with any semblance of classical pretension. So, the bottom line is that if you are a fan of the more muscular brand of black metal, this album will more than likely not be the shot of testosterone you require, but if you are a fan of left-of-center black metal (or if you need a break from typical black metal), this album deserves your attention. I do have to say, though, that you have not lived until you hear quoted text from the classic fairytale The Three Little Pigs conveyed in black-metal vocals style in the song “Lange Knivers Natt,”: “I’ll huff, and I’ll puff, and I’ll blow your house in.” / “Not by the hair of my chinny chin chin.” This quotation alone ought to have elicited your interest!
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