Sorgir - Skálmöld
- Release date:
- October 12, 2018
- Napalm Records
Take it ever right to speed?
Skálmöld seems to have concentrated on the writing and the technique, which has several improvements on the Sorgir. The results are clear, but there are other areas that have been neglected. When the members this time have achieved results with their style and sangopbygning, there are unfortunately a weakened production. Therefore, when Sorgir still not up on a higher character than Vögguvísur Yggdrasils, although a combination of the two albums forces might easily have landed in the icelandic heavy band higher on the scale.
Hedningehegn with a good tune
Skálmöld plays hedningehegn a la berserk spicy with lots of folkemusikmelodi. The band has gradually become a part of the album experience, all of which have previously been reviewed on metalbehavior.com. You must rely on the reviews, the plates dropped in quality in the course of the seven years, the band has so far released material. If you listen to the plates separately, you can, however, rebut this. Production quality has risen, style has become more real. Perhaps this is due to the slowing karakterpoint just that the hypen is slowed, and the potential begyndelsesvis so as to be larger than when it is unfolded. The music on the recent Sorgir has hardly changed much since I, the undersigned, notified the band's fifth plate Vögguvísur Yggdrasils. Femmeren triggered six skulls, which were an expression of a solid instrumental base and an exciting concept, however, non-renewal and had a fundamental problem with vokalens uniformity. Little has the brave icelanders lifted since then.
Working with the vocals
Let us take the good news first: Skálmöld have been better to vary the vocals and its interplay with the melodies. In several of the songs on the Sorgir used the vocals to put the extra push in the riffs and rhythms instead of as in the past to feel like an awkward extra layers. On the "Brúnin" based instruments f.ex. well, up to the rancid versvokal, who only gets to sing a few monotonous stanzas, before the song moves ahead with a screamteknik, which provides some much needed variation. A long and successful instrumentalpassage with subsequent stemningssættende choral singing creates the perfect balance between vokaltyperne. However, there are still songs, where you when to be tired of the single-minded cry from the frontman. When the melodies are strong enough to carry the numbers as on the "Sverðið", the singer's unchanged tone of voice work, but many of the songs would benefit from a little melody in the vocals. Either that, or even more variation between sangteknikkerne.
Unfortunately for Sorgir is production quality a little lower than on the Vögguvísur Yggdrasils. The sound is a little more scratchy and not quite as well balanced. Distortionen on the guitars is not quite as smooth as in the past, and there is no bottom in the drums and bass. A shame when the writing is at least as interesting as on the last album.
In particular, the two previously mentioned "Sverðið" and "Brúnin", as well as the evocative "Móri" is well-written compositions, which balances Skálmölds grundingredienser on the very successful show. In contrast to the not so gripping midternumre on the plate, the three mentioned numbers good variation with different techniques and multiple melodies that all fit together and gives the listener something to come after.
The album concludes with the almost instrumental "Mara", which contains many good tunes. Generally, it is the fat number, but some of the melodies feel a little pasted – as homeless people pieces that could not find space elsewhere and therefore been moved into this number. Bonusnummeret "Höndin sem veggina klórar" is Sorgirs final goodbye and is a very good bid on a småmelankolsk afrundingsnummer.
>> Check the songs and lyrics here