Dødheimsgard
Kronet Til Konge

Well, to be honest, I expected something more from this album: something more from Fenriz's imagination, or from the skills of guitarist-vocalist Aldrahn... Unfortunately, what emerged from the first release of what was one of the many side projects of artists already established in other fields - suffice it to mention Fenriz, here on bass and synth, but already an irreplaceable drummer for Darkthrone - was certainly not one of the unattainable peaks of True Norwegian Black Metal, nor one of the most striking examples of creativity and variation on the theme.

The compositional style of the album is indeed rather repetitive, and at some points touches monotony: gurgling guitar riffs, from which a different tone rarely emerges; bass that fails to stand out from that oppressive carpet; drums engaged in rapid bursts meant to sustain Aldrahn's already fast tempos, but rarely contemplates counter-tempos or noteworthy blast beats; scratched, harsh vocals, but far from the best screamings - it's something closer to the style of Venom.

As for the tracks, the opener "Intro" attempts to create, succeeding in part, the atmosphere of unhealthy tension and cold that will be the compositional intent of the entire work, through a distorted and synthesized sound. The following "Å Slakte Gud" (To Massacre God) does not add much in terms of creativity, being made up of a riff and a half and a vocal line that, though noteworthy for the irritating malaise it manages to transmit, does not vary much from start to finish. In fact, it remains practically the same throughout the entire "En Krig å Seire" (A Battle to Win), where fortunately it is possible to hear some rhythm changes and a few more chords.

Then comes "Jesu Blod" (The Blood of Jesus), darker and sharper riff, drums that finally allow themselves to be admired, but the ensemble still does not excel even here. Fortunately, at this point, one of the pieces that saves the work arrives: "Midnattsskogens Sorte Kjerne" (The Black Caresses of the Midnight Forest), where the opening arpeggio acts as a frozen light in the darkness of the forest, and accompanies for a while a voice that is almost folksy, almost atmospheric, and remains, though faded and buzzing, during one of the best True Black outbursts of the record. This is followed by the good "Kuldeblest Over Evig Isøde" (Blast of Cold in the Eternal Frosty Void), where, beneath the irritating vocal line, a riff in an almost ulverian style is clearly audible this time, which, for the most part, hits its emotional target. Here Aldrahn's vocal performance is even more suffering, rotten, and ever so sick. Although even the skins managed by Vicotnik manage at various points to be heard, continuing to listen from here on becomes almost a test of strength.

A slightly different style for the title track, La Corona al Re, and Aldrahn who at a couple of moments brings his hoarse cries close to a growl, at others renders them pure and simple caustic wails. The merit of the piece, however, remains in some sparse, cold, and almost delicate guitar notes. Excellent, however, is the attack of "Mournful, Yet and Forever," which enhances the not-so-excellent continuation of the song, on the other hand one of the most imaginative of the entire effort. Aldrahn's voice seems better, his scream more articulated, probably due to the English lyrics, and the guitar draws more studied lines, in pursuit of a less minimal True Black, more communicative, managing to engage in a good gloomy and dreary atmosphere, from which even some synth and bass notes emerge along the lines of the guitar. Ultimately, a solid, pompous piece, certainly of higher quality than the CD average.

Much faster, instead, is "Når Vi Har Dolket Guds Hjerte" (When We Stabbed God's Heart), again almost entirely lacking the guitar flourishes of the previous track. Same speed, drums, and vocals pulled in the same way in "Starcave, Depths and Chained," which does not shine particularly for two minutes and thirty, but manages to significantly raise its level in the last round, riding a rapid riff but not scraped from the strings. Instead, "When Heavens End" boasts one of the most beautiful melodic parts of the album in its introductory section, and one of the most angry and incisive vocal performances, albeit permanently on the same track. It flows through its five minutes and twenty pleasantly, dense but engaging on its riff, on which a good bass accompaniment is inserted - a great idea - at the end, even if only for a few seconds. The outro follows with the laconic title, a sort of release from the fury and unsustainable atmospheres of the previous eleven tracks.

By no means essential, then, but perhaps appreciable in its intents - and, in part, in the results - purely True Black, which if they do not overly save melodies and emotions, at least do so with the atmosphere, heavy and almost acidic in many sections, almost unbreathable.