Satyricon
Nemesis Divina

THE REVIEW

I find myself in serious difficulty trying to describe the greatness of "Nemesis Divina." Born from the fervent mind of Sigurd Wongraven in 1996, the album in question represents, in my opinion, the purest and most devastating essence of what is defined as True Norwegian Black Metal: the majesty, the violence, the cruelty, and the traditions of forgotten ages represent the core of this platter, the third and final masterpiece of the seminal Satyricon.

From a purely technical perspective, it's difficult to find obvious flaws in "Nemesis Divina": the production is more than good, the frontman’s screaming is as sharp as ever, the drumming is precise and incisive like few others, and the keyboard sections are present but never intrusive or pompous. The CD is absolutely devoid of weak tracks: the seven acts that comprise it are true Nordic anthems, passionate, cruel yet at the same time veiled with melancholy for the awareness of the relentless passage of time.

"Nemesis Divina" is opened by "The Dawn Of A New Age," the day of judgment and renewal, with an infernal prophet Satyr presenting us apocalyptic visions, supported by merciless and at times touching riffing. This composition lasts over 7 minutes, but they pass quickly between acoustic moments and recited parts by a seductive female voice, perfectly integrated into the sound wall created by the band. "Forhekset" is the first track entirely sung in Norwegian; it is extremely decisive, martial; the growl vocals increase the level of malignancy. Notable is the use of an acoustic instrument in the magnificent tail of the piece. In the third position, we find the immortal "Mother North," precisely that composition which is undoubtedly the flagship of the group. The song in question alternates a solemn mid-tempo march accompanied by keyboards to more violent explosions and represents a true declaration of love for the homeland of the two musicians, a stern condemnation to those who seek to uproot its pride and majesty. "Du Som Hater Gud" is the second track sung in the band's native language, which directly connects to "Forhekset"; both are quite direct, but where the latter is more cadenced, the fourth song of the album is instead more violent. This piece also has a very particular tail, on which the sound of a magnificent and at the same time disturbing piano is grafted.

"Immortality Passion" has something baroque, unsettling yet grandiose; the lyrics only reinforce its aura of mystery, unraveling over the more than 8 minutes that the song is composed of. Impressive here is the alternating use of melodic moments and destructive attacks, which leave the listener puzzled until the abrupt conclusion. The sixth track is the title track, perhaps the most malevolent and traditional song of the batch; endowed with a devastating start, this composition assumes a powerful and regular course over time, leaving room for a tail with an unimaginable epic charge, truly thrilling and impossible to render in words. "Transcendental Requiem Of Slaves" is the concluding instrumental: it is certainly the track with the most dreamy and melancholic pace, dragging the listener into a slow vortex of ancient visions long lost.

As I have already said, I consider "Nemesis Divina" a definitive masterpiece, and therefore I recommend it to all those who love Metal to become passionate about a grand and fascinating sound dimension that Black Metal can be, provided it is interpreted with the heart and passion abundantly poured out by the masters Satyricon on this legendary platter.

P.S. I am fully aware that the review presented here has already been published a couple of times on DeBaser, but I believe, from my very modest point of view, that the writings of other reviewers do not adequately celebrate this masterpiece.

I hope not to offend or bore any of you.

Regards.