Satyricon's gruesome twosome, Satyr and Frost, are a big deal. Having deviated from their traditional black metal path in recent years, while also undertaking a weird live appearance at the World Ski Championships in 2011, a number of the band’s hardcore faithful turned away. Naturally, Satyricon aren't too bothered about fan backlash over 20 years into their career, which is made abundantly clear on their latest, eponymous release.
An ominous drum beat heralds the beginning of Voice Of Shadows, a doom-soaked introductory piece based around one melancholic riff that, even only a couple of minutes in, is far more sophisticated than the hyper-primitive racket of 'The Age Of Nero' and 'Now, Diabolical'.
TroOg Kraft is led by a cracking riff courtesy of Satyr, while Frost's notorious kick drum is utilised as if it is going out of fashion. A gorgeous, perfectly-placed acoustic section provided a well-earned break before descending straight back into the muscular main riff, which highlights another major weapon in the band’s arsenal this time around.
The production here is possibly the best Satyricon have ever had, giving the guitars that extra beefiness they lacked on previous albums. While some diehard fans may prefer the scratchy, D.I.Y sound of the band's earlier records, the ramped-up production job here goes hand in hand with the idea that Satyricon have, once again, defied expectation.
The sludgy, metronomic approach displayed on TrogOg Kraft is also implemented on a few other tracks across the album, with Nekrohaven also including static-coated vocals during the verses and The Infinity Of Time And Space, a prog-tinged masterpiece, plodding along one minute and tearing into the eardrums at animalistic pace the next.
Orchestration has become associated with extreme metal more and more in recent years, with the main culprits being Cradle of Filth and DimmuBorgir, but it can have mixed results. The former managed to utilise it with some tact, while the latter bunged it all into a basket through a display of sheer, unadulterated pomposity. While nothing on ‘Satyricon’ compares to the overblown opening to Walk The Path Of Sorrow from the ‘Dark Medieval Times’ album, there are subtle flourishes throughout that add an extra layer to the already dense tone of the album. Spooky choirs haunt the chorus of Nocturnal Flare, while various folk instruments adorn the minuscule, vulnerable closing track, Natt.
Satyr's vocals are as scathing as ever and, in a genre where vocalists often settle for sounding like dangerous bowel movements, it's refreshing to know that someone can still enunciate properly. But it's when he steps back from the microphone that the true lightbulb moment happens. SivertHøyem, vocalist from Norwegian rockers Madrugada, rears his bald head for a guest appearance on Phoenix and his velvet, bluesy tone sits perfectly above layers of discordant guitar, coupling with a moody choir to create a genuinely majestic swathe of melody during the chorus. It's so far removed from anything Satyricon have done in the past, yet it completely works in the context of this album.
Upon first listen many of the album's subtle nuances are hidden from sight, coaxing you in for yet another beating. Fans of Satyricon’s early work will find more to rail against here, but fans of forward-thinking, intelligent black metal will find an album to savour.
Sun November 10th 2013 - MANCHESTER Manchester Academy 3
Mon November 11th 2013 - BELFAST The Limelight 2
Tue November 12th 2013 - DUBLIN Button Factory
Thu November 14th 2013 - LONDON O2 Academy Islington
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