SLAGMAUR

Trondheim, Norway. An absolute idyllic city that serves as the heart of Norwegian research, engineering, and tech. The city was founded in 997 AD by Viking King Olav Tryggvason. He named the settlement Nidaros, which translates to “Mouth of the river Nid” (Nid + os). For centuries, Nidaros served as the capital of Norway. It was the seat of the kings and the center of the Frostating (one of the earliest representative assemblies in Europe). Let us fast-forward 1006 years, right to the moment that modern-day kings gave birth to a ritualistic sub-movement of extreme metal called Nidrosian black metal. Of course, you’re all well aware of the second wave of Norwegian black metal that emerged in the early 90s, originating in cities such as Bergen, Stavanger, and Oslo. The Nidrosian movement came to fruition as the direct antithesis of what the Nordic black metal scene would eventually become. By the early 2000s, those ingrained in the Nidrosian scene felt that Norwegian black metal had lost touch with its early origins. As a result, they planned a return to the “True Norwegian Black Metal” aesthetic, with a heavier emphasis on occultism, ritual, and a specific “Trondheim sound” (a mix of atmospheric dissonance and raw, punishing aggression). Some of the first bands to take rise include Mare, Kaosritual, One Tail, One Head, Celestial Bloodshed, and, later, bands such as Whoredom Rife, Vemod, and, the reason you are here reading this, Slagmaur.

At the helm of Slagmaur is the ever-mysterious General Gribbsphiiser, a wholly unique outlier hidden amongst the Nordic contingent. Formed in 2006 (from the ashes of Norske Synder), the band has released three full-length albums (2007’s Skrekk lich kunstler, 2009’s Von Rov Shelter, and the absolutely brilliant Thill Smitts Terror released back in 2017). The current iteration of the band consists of Dr. Von Hellreich (vocals), Mr. Unt Zilla (bass), Red Max (drums), and, of course, the General (guitars). After nearly a decade, the band returns with Hulders Ritual, an album that is, without doubt, their most refined work yet. Masterminded by General Gribbsphiiser and featuring production by Thorns’ Snorre W. Ruch (ex-Mayhem), the album is an absolute masterclass of early Norwegian black metal. While this aspect of Hulders Ritual is worth the price of admission alone, there is an absolute treasure trove of sublime, blackened weirdness to discover. The six tracks on offer explore Nordic folklore wrapped in the mythology of the forest-dwelling Huldra (forest spirit). To help bring this latest installment of the ‘Art Of Olderman” to life (the conceptual and narrative framework that binds the entire discography of Slagmaur together), the General enlisted guest contributions from members of Taake (Hoest) and Dimmu Borgir (Silenoz).

Hulder’s Ritual wastes no time setting the scene with ‘Ritual Dogs’, a sonic tempest that combines early Norwegian black metal with a dramatic, Wagnerian-like bombast. The atmosphere on display is palpable, thanks in no small part to Snorre’s thick as fuck production. The majority of the track marches to the boot-step pacing of mid-era Darkthrone, minus the looseness of the time. As sharp as the guitars are, there is an abrasiveness here that cuts through the clarity, anchoring the entirety of Hulders Ritual in the permeance of the second wave. An absolute genius of a song that will no doubt appeal to lovers of the early days of the sub-genre.

‘Wildkatze’ is arguably the best Norwegian black metal song since, dare I say, Burzum‘s ‘Jesu Død’ (yes, it is that good). The song starts with an isolated riff that, like ‘Jesu Død’, immediately sets an eerie, hypnotic tone. Where ‘Jesu Død’ sounds lo-fi and flat, ‘Wildkatze’ hits with a high-def, penetrative attack. Make sure you are sitting once the rest of the instrumentation kicks in, as the circular, minor-key progression and motorik 4/4 beat are certain to cause vertigo (in the very same way Varg hypnotized his listeners all those years ago). Don’t be fooled, this isn’t just simple mimicry. Where Varg left the listener lost in a dense, coniferous forest on a moonlit evening, the General is the disembodied voice of a jester, guiding the listener to the edge of a cliff, promising salvation. The trance-inducing minimalism remains the same; it’s the presentation that differs: theatrical (Slagmaur) vs solitary (Burzum).

‘Huldergeist’ leaves me with more questions than answers. First, and probably most curiously, did Snorre’s work with the band transcend that of just producer/engineer? This track, more than any other found on Hulders Ritual, absolutely reeks of Thorns‘ brilliant demo, Grymyrk (released in ’91). The primary connection is the shunning of the power chord in favour of dissonant intervals and piercing high-end notes that seem to skirt resolution. Again, like ‘Wildkatze’, the track starts with a lone riff that vexes and snakes its way into your brain for a full minute before the rest of the instruments join in. Following the Grymyrk blueprint, a semblance of melody can be heard, buried deep within the shifting geometry. Don’t get me wrong, this is not melodious in the traditional sense. Instead of the standard major or minor scale, we, the listeners, are treated to a dissonant melodicism built around the tritone (the devil’s interval). If this weren’t enough, the song features truly horrific, insane vocals from Hoest of Taake. The vocal trade-offs between Doctor Von Hellreich and Hoest reach a fevered, nightmarish pitch, heightening the song’s rising tension. This all culminates in the final third of the song, with the introduction of female vocals (courtesy of the talented Maria Charlotte Lund). The segue is haunting, with a perfectly executed tonal shift into ritualistic folk territory (is this the emergence of the Hulder herself?).

‘Hexen Herjer’ is the odd duck out, and perhaps the most experimental track found on the album. At first listen, it is rigid and authoritarian in its presentation. Like the title (which translates to “Witches’ Harrying”), the track is exactly that: the Fay (malevolent female spirit) emerging from the forest’s shadows to inflict psychological torment on her unsuspecting victim. With this picture painted, the song begins to make complete sense. As a whole, it succeeds in transporting the listener deep into a forest, running for their lives, the Huldra hot on their heels in predatory pursuit. Though the song marches to a strict, militant beat, there are several distinct movements that serve as musical chapters. The track begins its procession with a mechanical, brain-drilling beat that houses the song’s centerpiece: a repetitive, haunting piano ostinato (a repeated chord progression). It’s infectious. It’s nerve-wracking. And, above all, it’s scary as all fuck in a folk-horror kinda way. The guitars in this one are utilized to create a thick, smothering sensation; they are dense and melancholic, reminding me of the down-tuned dread of Burzum‘s ‘Dunkelheit’. The third movement of the song sees sustained, feedback-heavy guitars drone whilst a choir of screams pierce the hellish firmament. The song ends with a swirling, off-kilter, tension-filled hook that, to these ears, spells the end of our protagonist at the clutches of the Hulder. It truly doesn’t get much better than this, folks.

‘Warlok’ is perhaps the best example of Burzum-esque fundamentals applied to the core principles of the Nidrosian sound. Again, the song maintains a steady, march-like cadence, avoiding unnecessary tangents, getting straight to the point. The presentation and pacing are soaked in nostalgia, yet the circular riffing feels less second-wave ‘cold’ and more ancient-sounding (think candlelit dungeons instead of blizzardy mountaintops).

‘Rathkings’ is, without doubt, the album’s most anthemic and ritualistic movement. Perhaps this makes total sense as the song does feature Dimmu Borgir guitarist and songwriter, Silenoz. Musically, there is a definite connection to Dimmu. Now, to be clear, the connection and aforementioned descriptor of “anthemic” aren’t necessarily achieved through the common tropes/pomp and circumstance typically associated with symphonic black metal (the keys in this one are used sparingly). To these discerning ears, I am hearing some serious nods to the track ‘Council Of Wolves And Snakes’ from the last Dimmu album, Eonian. The primal, rhythmic, and tribal riffing of Silenoz that defines this particular track runs throughout ‘Rathkings’. An example of this can be found in the song’s central riff, which has a visceral, shamanistic swing to it that is deliriously infectious. This track, more than any other, feels the most grounded, in an earthly sense. It hits you in the gut. You can feel its ancestral calling deep in your bones; the riffs twisting and snaking like moss-covered roots in an ancient, untouched forest. If you are reading this, Silenoz, we need more of this awesomeness in the next Dimmu!

So, what can I say about Hulders Ritual that hasn’t already been mentioned above? Well, to finish, Slagmaur has successfully warped the ancestral echoes of the 90s into a monumental, modern nightmare. If, like me, you find yourself enveloped in a never-ending search for the “True Norwegian Black Metal” spirit, the General is waiting to lead you right into the witchy, seductive arms of the nefarious forest spirits.