And most of the rest of the album sings largely the same song, too. The record's first real song, "Atomic Chapel," evokes vintage Mayhem, what with its wicked vocal patterns and barn-burning musicianship. Here, spooky, Celtic Frost-influenced spoken word vocals, droning, choral-like backing vocal arrangement mysterious "ooh"'s echo and cascade in the background , and skin-crawling, classically black metal-derived croaks are laid over a bed of racing tempos, romping rhythms, pounding, raw-sounding skins including plenty of frenetic hyperblasts , and thrashy tremolo picking.
And then there is "When I Was Flesh," which echoes Enthroned, as it is a blast-fest from beginning to end pretty much. It is an explosive onslaught of ferocious riffing and relentlessly pummeling, jackhammer-precision of Frost's trapkit. The man, a living legend, sounds truly mind-boggling, here -- so much so, in fact, that he almost sounds like two drummers that are simultaneously going batcrap.
There are some exceptions to this "keep the gas pedal floored" rule, though. But the song does segue into slightly slower, blast beat-free territory, as it transitions through a fairly extensive, near slow-motion-like dirge, thus allowing the listener to catch a breath. The brutal, blasting black metal fury does eventually return to the picture, though -- and how! It ends sounding like another b-side from the "De Mysteriis Dom Sathanas" recording sessions. And then, of course, there is also the title song, a sustained, restrained, mid-tempo dirge-like piece that opts for a droning, near doom metal-worthy pace, thus allowing for some room to be freed up for 's bassist to shine through.
He lays down some grumbling, humming bass lines that bubble up from beneath the bottom of the mix, here. And said tune is also complete with some especially wicked and raspy vocals spewed over the top of the beast. Finally, "Demonoir" concludes with "Tunnel Of Set VII," which is easily the effort's longest track of the interlude variety, clocking in at a relatively uncomfortable three minutes and change. It is also the album's hands-down best interlude track, and quite possibly the only one that deserves any real repeat listens.
The tiny little hairs on the back of your neck are sure to stand vertically upright after hearing "VII," and anyone who disagrees with this statement has obviously not witnessed its dark synth lines and reverberating, echoing-out cymbal crashes.
It all makes for one weird, but simultaneously appropriately disturbing way to close out "Demonoir," one already extremely disturbing and supremely memorable affair from , a band that continuously proves their worthiness of being the best pure black metal band of the new millennium. A fine effort all around from these four Norwegian madmen. See all reviews. Top reviews from other countries. Translate all reviews to English. The album features six songs and seven short interludes numbered 1 through 7 the first of which introduces the LP and the last plays it out with the rest segued between each of the songs.
So how does Demonoir rate? Let's investigate Atomic Chapel Ravn exhales and the music begins. Archaon's guitar sounds meaty and dry and Frost shifts back and forth between fast drum speed 1 and blastbeats as Ravn whispers vocals over the top.
Then it's rapid fills and Archaon switching into a cascading riff. The track then continues to slow and at 0. As the track meditates on this riff at you can hear some eastern styled strings playing over the top of the band which sit perfectly with other instruments. These strings seem to linger as the track returns to the blasting.
The remainder of the song is all blastbeats and fury with a mixture of dry throat, whispers and towards the end some almost monk style vocals. A great song that features memorable riffs and highlights the bands progression.
WIWF could have come from any of the first three albums as it is played in the classic style of all blasting all the time- almost continuous blastbeats. Churning riffs fused to hyper speed rhythms are built atop of each other in which Frost uses two different blastbeat speeds one ultra fast, one standard DM blastbeat speed and a slower but still fast mid tempo beat for the chorus.
Then it's back to the supersonic blasting. Overall a great classic style song and there are some nice growled overdubs at the end. Too bad the drums are not that clear. This production does not suit blastbeats that well. The first two minutes are high speed sonic battery with Ravn spewing venom over the top. At Archaon rips a solo that reminds me of one of those early eighties thrash solos as it sounds a little like something from Kill Em All or Show No Mercy.
The lead guitar then fades out and drifts around in the background behind Ravn's vocals before a second solo which is pretty bizarre sounding. The track ends in familiar brutal fashion switching from blastbeats into a neat drum fill with an extended scream from Ravn. Tunnel of Set V. The Devil of the Deserts.
Tunnel of Set VI. Tunnel of Set VII. Tunnel of Set I Archaon. Spotify Amazon. Atomic Chapel Archaon. Tunnel of Set II Archaon. When I Was Flesh Archaon. Psalm Archaon. Tunnel of Set IV Archaon. USF Verftet. If you like , you may also like:.
Bandcamp Album of the Day Aug 4, go to album. Bandcamp Album of the Day Jul 15, go to album. On Bandcamp Radio. CD2: 1. Strike Of The Beast Exodus cover 2. Rapture Morbid Angel cover 3. Nerves Baushaus cover.
Strike Of The Beast Exodus cover Rapture Morbid Angel cover. All in stock items will be shipped the same day. Read more. HUOM Muista aina laittaa puh.DEMONOIR is without a shadow of a doubt ’s darkest, most sinister and brutal work to date, and in this case it comes to mean that the band has gone from the utterly extreme to the genre-expanding and mindboggling. Black Metal cannot, and will never be the same. For the bands’ fifth full length release decided.