Bulgaria! Just reading the name of this country instantly triggers memories of the first time I heard a Bulgarian Black Metal band: specifically Dark Inversion with their classic ‘The Land of the Dead Warriors’.
So, it is a special occasion to delve into the guts of Haavrun, who, coincidentally, also hail from the country’s capital. Haavrun has already been reviewed on VM-Underground; I recommend reading that piece if you want a comprehensive overview of their previously released demos.
It is worth noting that they are a fairly young band: only three years have passed since their invocation, and they have spewed forth just three demos. The demo titled ‘Total Demolition of Feeble Souls’ serves as a warning: those with soft ears should Not enter these dark caverns. Todorac is the mastermind behind all the instruments, while Nordsoldat handles the vocals and lyrics; what this pair delivers is pure, cursed Black Metal in its rawest state.
I have always loved black-and-white cover art featuring a photo of a band member, presumably Todorac, that emphasizes a raw, gloomy, and minimalist aesthetic, signaling the demo’s cursed content. This approach, widely used in Black Metal since the days when Gorgoroth, Darkthrone or Maniac Butcher first spewed their music upon us, remains just as relevant today, even as some internet gurus keep claiming Black Metal is dead! Hahaha… you cannot kill something that was invoked from Death itself; therein lies the dilemma for the fools.
Returning to the demo, the opening falls to ‘I. Nocturnal Ravage (Session I)’, and the first thing to assault the senses is the dark, distant roar of guitars, distorted by the Devil and all the damned demons shrieking and tearing at the lamb’s flesh, set against rhythms that alternate between fast tempos and D-beats.
In certain passages, the keyboard accompaniment becomes elemental; the mid-section slows the pace, using synth atmospheres and acoustic guitars to evoke the feel of an outro, yet the attack renews itself, only to dissolve into the embrace of the second track, ‘II. Unforgiving Torture of the Past (Session I)’, which follows the bloody trail left by the previous song. I should note that this demo was recorded in the most rudimentary mode possible; the drums seem to have had minimal miking, lending the recording a raw, authentic rehearsal-room vibe: an approach that, given the duo’s intent, strikes me as fantastic. At one point, an abrupt silence elevates one of the most striking slow rhythms, ramping up the tempo for a few seconds to gift the listener a touch of old-school Burzum, complete with howls and infernal vociferations.
‘III. The Sacred Ways… (Session I)’ is the invocatory title of the next track; it fades in amidst dark guitar feedback and drums that herald the entry of a mid-tempo rhythm, serving as a prelude to the track’s highlight, where the pace quickens and all elements attack in unison. The keyboards cease merely accompanying and take total possession of the track; varied rhythms and guitar patterns add diversity, yet the song claims the demo’s crown as one of its most ferocious assaults. At times, the vocals recall the vociferations of Gaamalzagoth, becoming increasingly entangled as the seconds are consumed by the vile noise.
Now we enter the “death zone” of the bonus tracks that round out the demo, starting with the first bonus, ‘Untitled I. (Bonus Side / Session II)’. There is a noticeable difference in the sound capture, since it was obviously recorded during a different session, and the influences of the old Moonblood are unmistakable here; to my taste, this is incredibly valuable, as that Black Metal mausoleum simply cannot be forgotten.
In this era of soulless, over-produced, AI-assisted music, listening to minimalist, raw, and direct Black Metal is pure “black glory”: an experience haloed by the misery, blasphemy, and wailing cast against the wretched modern world. ‘Untitled II (Bonus Side / Session III)’ is the name of the next bonus track, offering up the best guitar riffs on the entire demo; the tremolo-picked guitars howl of past glories steeped in pride and hatred.
Once again, they employ the formula of dropping into silence before returning with slow rhythms that accelerate as they curse the journey’s length, building to a moment where the guitars weep dark, repetitive notes, bringing the track to a close with keyboards and a lingering sense that the lamentations will continue on another existential plane.
Finally, the third bonus track, etched in stone as ‘Untitled III (Bonus Side / Session IV)’, serves as the perfect choice to set the tombstone in place. It channels a Darkthrone-esque vibe, specifically their mid-tempo style, exuding ancient malice; this track also boasts bestial riffs that devastate everything in their path, accompanied by howls that stun the Christian world.
As before, there is an abrupt cut, electro-acoustic guitars, scattered vocals, and curses cast to the wind, followed by a return to the march and demonic xenoglossia, bringing the sessions to a close with a demo that is a true delight for fans of Raw Black Metal!
