For those not in the know, the RMR crew started a series catering to metal mainstream bands that never quite made it onto the ‘zine. For some reason, the powers that be over at the RMR office tower decided that the ignored ones needed some unwanted attention. So, here we are scouring the enlightened depths of established metal bands that didn’t quite reach n00b status in our review pipe to date. And 2023 turns out to be one rich source of those outfits.
So, welcome yet again to a review desk unencumbered by the richly embroidered pasts in metal lore that these bands carry in their often extensive baggage. And this time, it’s Enslaved and their newest concoction Heimdal that are next on the list of well-known outfits to be indiscriminately butchered. Let’s see if the band’s Viking-infested blackened genes will be able to sway the hardnosed, cynical bastards over at the local reviewers’ watering hole.
First of all, Heimdal is a fascinating piece. Not a knock-me-into-space stellar record. But one filled with enough mystique to please those delicate palates of the acolytes of cryptically enigmatic metallic fare. And for those who wonder, you won’t face yet another earthy Wardruna ersatz piece, but some strangely meaty metal gone weird and equally earthy prog. So, rest easy and enjoy the show.
And as always, a leopard cannot really hide its spots. Enslaved sports a feisty, slightly blackened progressive and alternative style that’s more Alcest than may be good for the band. Thus, Heimdal will only in part live up to the rumors that the band pretty much switched off their blackened genes. Instead, you’ll find multiple instances where their rough-hewn progressive urges will blatantly give way to the vilest that Black and Post Black Metal has on offer.
Behind the River already gave us pause. It starts Viking enough with a boat seemingly arriving on some shore with a slightly doomy sludgy entry high on delicate clears. But this quickly disintegrates into some sort of Post Black Metal from hell once the unclean vocals rasp away. It’s a powerful song but also one that’s indicative of the whole record. Congelia, however, is not. This second track is the odd one out, a pretty masterful depiction of dissonant Extreme Metal with a weird proggy touch, The Daemon himself talking to you, and a stellar solo to boot.
And that already gets me to some of the issues Heimdal is a victim of. Enslaved‘s prog style ain’t too djent heavy, and that is a good thing. Many an old prog master has already beaten that particular dead horse with no end in sight and we surely don’t need more of that. However, once the band’s in progressive mode, their offering often lacks bite. The band must have realized that as well. Because they often turn to their Black Metal cravings to pump some oomph into their tune. Some sort of a brutal progression, extremist style, that should save the record’s sorry bacon. Take Forest Dweller, for instance. At first, the blurb somewhat aimlessly weaves about the soundscape. Until the harsh blackened Extreme Metal kicks in. And that’s when there’s trve fire in their tune.
What’s more, this tendency to aimlessly careen about the soundscape with endless repeats of the same theme really is a downer on Heimdal. Kingdom almost bored me to tears at first. For long stretches, the track sounds like someone’s electronica headache. And that’s a pity because this trait turns a potentially great song into something pretty mushy. Until some genius flips the power switch and goes Extreme Metal, that is. The same goes for The Eternal Sea and its endless beginnings. Yet, the sudden switch to Black Metal Myrkur-style finally sold us. So, you see, with a good carvin’ of all those fatty parts, the folks over at Enslaved could have built themselves a killer record. Instead, the band produced a piece that – for long stretches – tries to drone you into oblivion like some fucking Hum of the Machine or something.
And that made us almost miss all the good things Heimdal has on offer. Enslaved boasts a prog style that’s often bordering on the excellent. Its feisty and often psychedelic passages carry weight here and you’ll never know what to expect next. The RMR crew also marveled at the spacey keys that ring out at any odd moment. And those are always correctly placed and won’t overreach. Furthermore, Grutle Kjellson‘s elastic vocal performance really impressed us. Clears, monologues, or vile rasps, the man has got the goods. And there’s never a note and – more importantly – never an iota of mood or emotion out of place. Stellar that.
Heimdal turned out to be somewhat of a mixed bag, though. There’s a ton of excellence and some pretty stellar ideas on this record. If only Enslaved would have shown constraint with the hypnotic noodling and often feeble prog parts. This record could have scored at highest levels. As it stands, however, the masters of grouch populating the RMR review desk set its level at ‘very good’. An excellent rating it fully and wholeheartedly deserves. Enslaved still have fiery energy in their bellies after all those years. And the RMR crew, for one, already looks forward to their next album, whenever it may drop.
Ed’s note: Want to hear about all other infamous n00bs? Check out The List.
Record Rating: 7/10 | Label: Nuclear Blast | Web: Official Band Site
Release Date: 10 March 2023