Mareridt - Myrkur

The masterpiece is waiting just around the corner

There is, however, a few minor flaws that prevent the Nightmare from becoming a true masterpiece. "The Three Piker" is a traditional folk song performed in a very traditional manner. Besides Myrkurs amazing voice offers the not really of anything in particular, and you are wondering why the song at all is with here. Last track, "the Orphanage", is a spoken word tale about a little girl's inner demons, but it sounds a bit like something King Diamond might have made back in the'80s, and is a weird, flat way to end an otherwise completely fantastic album. More corny than creepy, and it is not meant to be.

At the same time, one could well wish that some of the songs got more time for both to spread out and sit down; sometimes it goes simply too strong to move on. An example is the duet with Chelsea Wolfe, which is incredibly evocative, but ending so rapidly, that it is torn out of the gloomy state of mind, in the right when biting firmly. Too bad.

All in all, the Nightmare , however, a really strong plate. Not quite a masterpiece, but it is close, and this reviewer is sure that Myrkur can reach even greater heights with her next album release. The masterpiece is waiting just around the corner, and you can hardly wait for what she will find on the next time.

King Diamond. Lars Ulrich. Mike Tramp. Kenneth Hansen and Paul Christensen (Ken Hammer and Ronnie Atkins). Michael Poulsen and now Amalie Bruun. Maybe you feel that the quality of this list varies tremendously, and peace be with it. But why not just be proud that yet another Danish artist put a further imprint on the international metalscene?

Less black, more goth, folk and rock. Myrkur go new ways, but still with a completely magical voice

Trve kvlt-people crawling out from the hide

It is not because Myrkur should be compared with either the Metallica or Volbeat – both commercially and artistically, they lie quite far from each other – but there is nevertheless a point where the three 'Danish' bands similar to scary much: There are hardly any other artists on the metalscenen today, that in the degree may get the trve kvlt people to crawl out from their dark hiding place and get them to spread the jantelovs-inspired hatred and envy. Where all the rage, as Myrkur inspires, comes from is hard to understand, but a good guess is that it will happen again here with Myrkurs other fuldlængdealbum, Nightmare. Myrkurs big problem is, of course, that she, so far as is known, neither has participated in kirkeafbrændinger, murdered bandmates or is raised in a secluded Norwegian valley, where you only know that it has been summer, because the rain has been 2-3 degrees warmer. Myrkur has therefore in no way 'paid her dues' – on the contrary, she has a past as both a model and pop singer! 'Depart from me, Satan!', you can almost hear the trve kvlt people up. But how can fans, there is pædagogmedhjælpere in Bramming or postomdelere in St. Heddinge, at all determine what is trve kvlt, and who has the right to play black metal?

It can, and must, the of course not – nor reviewers for that matter – and here at the words, we are completely indifferent, so the bassist has a past in rock candy, on the producer for a daily is responsible for Gulddreng, or what the hell the lead singer otherwise have done in its murky past. Who cares! With us it's all solely about the end product, ie. the plate, or the concert. In other words: Here follows a review of the Myrkurs Nightmare, complete clean of preconceptions and prejudices – or something.

Nightmares & Demons

What is it, Nightmare? After the success of the M in 2015 and a number of high-profile concerts at home and abroad should Myrkur suddenly home to Denmark and be Amalie Bruun again – and it was certainly not easy. Nightmare is Myrkurs attempt to enter and understand the inner demons that have plagued the Amalie – especially at night – in the time after the M, and we get as listeners allowed to go on the trip. And an exciting journey, this is it. At M were Myrkur help of people from the bl.a. Ulver and Mayhem, but the Nightmare is produced by Randall Dunn, who bl.a. has been behind the Sunn O))) and even produced Black Sun 2017-comeback, Big Slow Star. Even though the drums are controlled by Aaron Weaver from Wolves In The Throne Room – and it is the acceptable black credentials – provides the choice of collaborators a clue as to Myrkur slowly moving away from the black metal, who, after all, was fairly dominant at M.

Partly continues the Nightmare , however, where M left off, with the well-known mixture of black metal, folk and Myrkurs magical voice. There are now now not much actual black metal back, even if the blast beats, tremolo guitars and scream quite powerfully show up. To return puts Myrkur and Randall Dunn additional layer on and extends the musical expression considerably. There are more goth and more singer-songwriter about it, and the more places we hear, indeed, inspiration is not just from the Black Sun, but also a band as Swan Lee. A comparison with something so non-metalagtigt as Norwegian Sissel Kyrkjebø is actually also equal for. Sissel Kyrkjebø has, for example, sung with the Black Sun, and Myrkur has just a voice that is just as divine as the Norwegian star from mali. Deal with it!

Nightmare opens with a vokalnummer, where Myrkur using a Swedish shepherd-vokalteknik (kulning – it is good enough!) to retell one of the nocturnal nightmare. A slightly unusual start, but it creates a very powerful transition to the next song, "Måneblôt", which is one of the closest, we get on really black on this disc. On the third song, "The Serpent", sounds Myrkur now suddenly a little like the aforementioned Swan Lee, Pernille Rosendahl – even a cosy number and even departure. And so it continues otherwise with the new impressions, however all the time with Myrkurs amazing voice in the foreground. On the "Crown" ask Myrkur us welcoming 'Am I adored?', and the answer is clearly: YES! There is nothing else to do than to surrender completely, when Myrkur seduces the listener with her voice, that at one time both can scare us witless, but also lead us away to a better place, with its dreamy, hypnotic beauty.

At the "Funeral" sings Myrkur duet with Chelsea Wolfe (who gudhjælpemig also have worked with Randall Dunn and the Black Sun – you begin to suspect than the trend). Together they sing 'We don't see eye to eye, so I will be there at your funeral' and ‘When you're buried underneath, 10 feet of dirt, I'll dance around in my skirt's so dark and alluring, that one can not help believing in it and look over his shoulder. The Dark girl power so that the flapping! It all culminates on "Ulvinde", where Myrkurs vocals, the chorus, the music and the text goes up in a higher unity. "Ulvinde" is a prime candidate for the year's best song – mind-boggling beautiful!

>> Check the songs and lyrics here