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Sól Án Varma – Sól Án Varma

sól Án varma – sól Án varma

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I’m not sure if anyone, including the bands themselves and the label behind their first albums, saw it coming that the debut albums of the Icelandic bands Svartidauði, Misþyrming and Sinmara would be so embraced and hyped when they were released. In particular ‘Flesh Cathedral’ and ‘Söngvar Elds Og Óreiðu’, the debuts of Svartidauði and Misþyrming respectively were is such demand that despite numerous LP represses the albums were pretty much always sold out and subject to inflated Discogs prices. And to this day these albums remain extremely popular, although to my surprise the Sinmara debut ‘Apthotic Womb’ (my personal favorite out of the scene) seems to gain a little bit less attention. Either way, that these albums put Icelandic Black Metal firmly on the map is clear, and plenty of bands have followed in their wakes. Ever a nose for upcoming scenes and bands, the Dutch Roadburn festival was quick to add these bands to the festival bills, and this ultimately led to the formation of a unique collective of personnel from the Icelandic Black Metal elite to perform a special set at the 2018 edition.

Sól Án Varma, which translates to Sun without Radiance, played a 70-minute show at the festival with material exclusively composed for this occasion. The cooperation was conceived by T.I. (Carpe Noctem, Misþyrming,
Naðra) and D.G. (Martröd, Misþyrming,
 Naðra, Skáphe) and further involved G.E. (Misþyrming,
 Naðra, Svartidauði), Á.B.Z. (Carpe Noctem, Árstíðir Lífsins),
M.S. (Svartidauði, Drottinn), S.V. (Svartidauði, Drottinn) and
H.V. (Wormlust). After performing this monumental piece, they took to the studio to record the whole as an album, which after some delays is finally upon us.

For the album version, ‘Sól Án Varma’ is carved up into 12 pieces or ‘Afbrigði’ that are numbered I through XII. I think this is mostly for practical reasons as the album was clearly recorded in the spirit of the live show: as one cohesive and organic piece. To accomplish this coherence the band emphasises atmospheric build-up of songs more than most of their other projects, although you can argue that it’s a bit of a trademark of Svartidauði. However, the riffs have have the strongest resemblance to the work that D.G. writes for Misþyrming. But while ‘Söngvar Elds Og Óreiðu’ was above all an album that burst with aggression, ‘Sól Án Varma’ focusses more on atmosphere. Often this is brooding and dark, at times suffocating but at other times downright elated and almost epic (in particular ‘Afbrigði V’ and ‘Afbrigði X’ which also have quite some layers of even clean vocals). The constant threat that these moods can change at any time into furious and chaotic sections with blasting drums and dissonant riffs is what makes ‘Sól Án Varma’ a fascinating listen, even though 70 minutes is quite a ride for a Black Metal album. One of the songs that best illustrates this looming schizophrenia is ‘‘Afbrigði III’, a song that transitions from meditative to gloomy and chaotic as it progresses. While clearly an album that is meant to listen as a whole, some other songs stand out for their riffs. My personal favorites are ‘Afbrigði IV’ and in particular ‘Afbrigði VII’, both starting off with a riff that immediately catches your attention, songs that can be counted amongst the most intense and in the case of the later also contain the most beautiful moments of the record. Following is the climax of dissonance in ‘Afbrigði VIII’ as another standout track.

‘Sól Án Varma’ captures the creative peak of the Icelandic scene, combining the atmosphere, aggression, and dissonance of some of its prime acts. It’s an album meant to be enjoyed as a whole, which is quite a lengthy but rewarding sit for those that appreciate the works of Misþyrming, Svartidauði, Carpe Noctem, Almyrkvi and the likes. While I personally think the scene has lost much of its impact in recent years, Sól Án Varma provides a commendable and enjoyable historical summary of what Iceland and its bands brought to Black Metal.

Sól Án Varma

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