Doedsmaghird – Omniverse Consciousness

Pushing boundaries. It was that attitude that drove the second wave of Black Metal in Norway, pushing the genre into new extremities. Dødheimsgard is synonym with this future-minded way of thinking, never comfortable with the familiar and launching themselves to unprecedented territories with every release, from the very first day. But arguably, no record pushed things as far as ‘666 International’ did in 1999.

Sure, the preceding EP ‘Satanic Art’ had flirted with a more industrial sound, but nonetheless, few had seen the metamorphosis coming. ‘666 International’ fused Black Metal with Industrial and Electronics into a chaotic and unpredictable maelstrom like none had done before. While the blend of Black Metal and Industrial was not new at that time as Mysticum had previously released the Industrial Black Metal album ‘In the Streams of Inferno’, Dødheimsgard descended much further into chaos on their transformative record. The following reaction was, to put it mildly, diversive, and the band in the end left that specific sound on their subsequent album ‘Supervillian Outcast’. That is, until this year.

It might be purely coincidental that ‘Omniverse Consciousness’ is released 25 years after the release of ‘666 International’. But here we have the debut of Doedsmaghird, a new band (and anagram of Dødheimsgard) fronted by Dødheimsgard frontman Vicotnik and further featuring French musician Camille Giraudeau. And to start with a conclusion of sorts, in many ways ‘Omniverse Consciousness’ could be viewed as a spiritual successor to ‘666 International’, but not without taking all lessons learned on board.

Inevitably, Doedsmaghird will be compared with ‘666 International’. The chaotic and unpredictable mad spirit of that album lingers all throughout ‘Omniverse Consciousness’. It bears the same blend of intense Black Metal with Industrial and Electronic beats and samples. At times the Black Metal dominates the song, such as in the intensely dissonant and mechanic ‘Then, To Darkness Return’ with its intensely pulsating drum sound, gliding riffs and haunting keys. In that regard, the Black Metal is as sharp as it has been in decades, taking the ferocity of ‘Satanic Art and ‘666 International’ in an often rather straightforward fashion. At other times, it’s the alternation between Black Metal and Industrial that dictates the song, such as in the subsequent ‘Endless Distance’. The prevalence of quirky Industrial samples and electronics are likewise very similar as well. But to be fair, the compositions are not nearly as unpredictable and incomprehensible.

Transitions are much smoother, and the fusion of elements is much more organic. Furthermore, we also clearly hear resemblance to the sound of later Dødheimsgard albums such as the stellar ‘Black Medium Current’ and ‘A Umbra Omega’. Take for example the beautiful ending of ‘Heart of Hell’, or the glorious psychedelic midpiece of ‘Death of Time’, which strongly remind me of the impressive atmosphere of the latest Dødheimsgard records. Another major shift compared to ‘666 International’ is the tremendous development of Vicotnik’s vocal acrobatics, which over the years have turned into something truly unique. Shrieks, humming clean vocals, grunts and commanding recitations, they serve as one of many elements that tie everything together. And thus, perhaps the most important conclusion is that the major difference between ‘666 International’ and ‘Omniverse Conciousness’ is simply time.

You might ask yourself, “Why the need for Doedsmaghird”? Although this is a question that only Vicotnik can answer, I think I may understand. That is, as far as I can ever pretend to comprehend the theories of a mad genius. Dødheimsgard seems a band that is always moving forward, shifting its entity into new and unknown directions. To go back to an album just doesn’t seem to fit with the band. Instead, Doedsmaghird offers a retrospective look, a view into an alternate dimension of what could have been. What if the band had stayed on the course of ‘666 International’? But there’s no looking back without seeing what has transpired. And that experience over the years is what makes the difference for ‘Omniverse Consciousness’.

Not everyone will get this. I can imagine that for example the disturbing opening samples of ‘Sparker inn en Åpen Dør‘ will make some skip to the next album straight away. At times I’m not even sure if I fully comprehend what’s going on. But you know what, that’s completely fine. It’s exactly that alienating and shifting sound that’s truly intriguing about the record. Contained within is a wealth of beauty, intensity and otherworldly elements that make it a unique work. And while ‘666 International’ might have been too much for its time, I can’t help but feel that ‘Omniverse Consciousness’ will resonate with many more. Certainly, if you’ve stuck with the brilliance of Victonik’s work then you simply must give this album a listen.