Stargazer Scholar
The underground spirit of extreme Metal doesn’t prevent it from being one of the most demanding genres when it comes to execution. The increasing accessibility of modern technology has yet to catch up with human creativity and the exploratory ambitions of artists working in small studios and isolated bedrooms. Musicianship and songwriting talent are still the foundation of any musical edifice, but without appropriate production quality, even the most solid building blocks may not hold. Omhuldra, the third full-length release by Sweden’s one-man Atmospheric/Pagan Black Metal project Tusenårseken, exemplifies this contradiction better than any other album I’ve heard recently.
The album begins with a shamanistic drumbeat and excellent clean vocals that are heavily reminiscent of Vintersorg, but then stumbles into a blast beat and almost falls apart. The drums are apparently programmed, and their synthetic feel undermines the nature-themed aesthetics, while the mix throws the instruments together in a muffled jumble, or so was my first impression. To be fair, I tested the album on several setups, and it acquitted itself somewhat tolerably on headphones, but by Odin, this record was not made for speakers. Early Gorgoroth-style production does have its place in modern Black Metal, but when paired with the Borknagar-ish style of proggy songwriting, it quickly becomes taxing, forcing the listener to strain their ears to catch all the intricate details.
Contrary to what you might expect, however, the album improves from here. No, the production doesn’t really get better, but the ideas are great! Yes, the guitar tone is so lo-fi and flimsy that it sometimes makes the instrument sound out of tune despite competent playing, but the writing is engaging and varied, the pacing is smooth, and the passion is unmistakable. Given the production quality, the 54-minute runtime might seem overly ambitious, but the record doesn’t overstay its welcome. What the album lacks in originality and execution, it makes up for in songwriting and imagination. The feeling of northern, melancholic longing is captured remarkably well, and the soundscapes take you on a journey from mountainous expanses to the darkest caves and smoke-filled halls.
Clean vocals continue to shine throughout the record, adding an additional layer of atmosphere reminiscent of Wardruna and Forndom. Thankfully, they are used generously, and the overall experience strikes a positive balance by the time the music ends. Purely Nordic folk passages stand out as Andreas Karlsson’s crystalline voice and acoustic instruments carry the memorable and elegant melodies. The Black Metal sections provide a fitting contrast, although I doubt they alone would have elevated the album to the same heights; their occasional uniformity prevented some songs from fully developing a distinct identity. But tracks like “Riket bortom livet” and “Ett hjärta som lättats från kroppen” make such great use of all the elements that define Tusenårseken‘s sound that it’s hard not to recommend them.
Overall, Omhuldra is well-written, competently performed (as far as I could discern through the production), and underwhelmingly produced. If you think you can overlook its technical “flaws” and approach it with an open mind, the record is certain to grow on you after a few spins. Andreas is obviously talented, and I sincerely hope he acquires the means to fully realize his vision.
Label: Grind To Death Records
Release date: 6 September, 2024
Website: https://grindtodeathrecords.bandcamp.com/album/omhuldra
Country: Sweden
Score: a muddy 3.5/5.0!
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