Throne Of Ahaz
Nifelheim

THE REVIEW

If we were in the early months of the prehistoric 1995, the release date of this album, Throne of Ahaz would appear before us as modest musicians and proponents of a non-trivial and up-to-date proposal. "Second wave black metal" (Black Metal born after the death of master Euronymous) Swedish and close to the sound of their cousins Dissection and Dark Funeral. Drumming at full throttle, tremolo picking, screaming vocals but also that dose of melody which is usually difficult to find in the "wall of sound" of Norwegian bands such as, for example, early Mayhem, Darkthrone, and Burzum.

However, things are not like this. Eighteen years have passed since the release of this work, and, obviously, the proposal now seems "outdated." Nevertheless, if you want to dive into the darkest and most violent sounds of the mythical (?) '90s, make "Nifelheim" yours and enjoy it for what it is.

No virtuosity, no satanic ambitions (our musicians were closer to the Viking spirit of Bathory), and zero racist takes in NSBM style. Tracks like "Northern Thrones," "The Dawn of War," or the final "The King that Were..." have that "something" that could only be found in productions from about twenty years ago.

Tracks are rather homogeneous, stretched to the breaking point, violent like baseball bat blows, and not at all soporific. Here and there, slightly cadenced parts emerge that can bring to mind early Katatonia.

Fortune, however, was not a friend to Ahaz who, after releasing a second and much more modest album, notable especially for a cover of Black Sabbath, had to say goodbye to the scene and retreat somewhere unknown. Disciples? None. But some echo of Throne of Ahaz is perhaps perceptible in the sound of their compatriots Craft. I hope I’m not wrong, but this is my impression.