Satyricon
Dark Medieval Times

Satyricon – Dark Medieval Times (1994)

Born in Norway in 1990, Satyricon represented the spearhead of the Norwegian black metal movement in the early '90s, especially by virtue of their “Nemesis Divina” from 1996, the masterpiece of True Norwegian Black Metal before it began to take different paths (which Satyricon themselves, courageously, would take).

By 1994, the Norwegian movement was already formalized: Mayhem, on the scene for about ten years, had already released the EP “Deatchrush” in 1987 and in '94 their masterpiece “De Mysteriis Dom Sathanas” would be released. Darkthrone, born in '87, released “A Blaze in the Northern Sky” in 1992. In the year of “Dark Medieval Times,” “Vikingligr Veldi” by Enslaved and “In the Nightside Eclipse” by Emperor would also be released.

In their first work, “Dark Medieval Times” specifically, Satyricon presented a two-member formation, Satyr (born Sigurd Wongraven, class of '75), on vocals, guitar, bass, and Frost (born Kjetil-Vidar Haraldstad, class of '73) on drums. The influence of Norwegian folk is very strong.

WALK THE PATH OF SORROW – After a symphonic intro (perhaps a bit too long), there’s a vigorous start with grand keyboards. The song then unfolds amongst continual stops and starts, letting us sense that behind a still immature composition, there is superior class.

DARK MEDIEVAL TIMES – The title track starts slowly again and then accelerates, delivering almost thrash riffs, among the most disturbing of their career. The acoustic interludes continue, including medieval-esque flutes. Many played parts, fewer sung.

SKYGGEDANS – The lyrics are in Norwegian. The progression is martial, bordering on epic (also due to the constant presence of keyboards, though never invasive). A piece similar to an orchestra, before a faster finale.

MIN HYLLEST TIL VINTERLAND – Again, Norwegian in the lyrics. It could be defined, at other volumes, as a ballad. Satyr's voice comes directly from the depths of Norway's most remote lands. The song in itself feels inconclusive, though decidedly atmospheric.

INTO THE MIGHTY FOREST – It starts again with epic, martial, paced riffs. Frost's drumming sounds like a war march. This time, the acoustic interlude is the pretext for a storm of sounds. The whispered piece, heralding more mature works, would appeal to Marilyn Manson. The finale comes amidst very mournful riffs.

THE DARK CASTLE IN THE DEEP FOREST – This is the song on the album that most adheres to the canonical styles of black metal. The slow-fast duality is always present, but the former instead of being acoustic is distorted, with melodies from Count Dracula's castle. Nice finale.

TAAKESLOTTET – Again Norwegian (3 songs out of 7). After a very tight start, a doom piece with great riffs. Satyricon seems to be exhausting their last energies. Usual epic and martial piece before an acoustic guitar piece that then flows into the finale with demonic keyboard chorales.

In general, the album (which, it must be said, has not aged very well) is still raw, uncertain on how to balance between classic black metal and folk-medieval pieces. However, the class is visible, and it is ready to illuminate their subsequent works.

TOP: INTO THE MIGHTY FOREST

DOWN: MIN HYLLEST TIL VINTERLAND

GENERAL JUDGMENT: 0 (mediocre)

5+ → the best albums in history (e.g., Velvet Underground and Nico)

4+ → masterpiece 3+ → excellent 2+ → good work + → sufficient

0 → mediocre

- → half misstep 2- → not sufficient 3- → bad 4- → terrible

The judgments are meant in an absolute sense, i.e., 4+ does not refer to the artist's masterpiece (which can also be 0, or -) but masterpiece in an absolute sense.