Origin : Norway
Genre : Black Metal
Release : 1996
Album downloads only available to members
Album Info / Review
Intro:
The winds of the Norwegian wilderness, perpetually steeped in shadow and frost, have once again coughed forth a sonic manifestation of primal despair. Darkthrone, a band whose very name is synonymous with the unvarnished, often brutal, essence of black metal, returns with “Total Death.” This is not an album for those seeking polished production or melodic interludes. It is a raw, unyielding testament to the band’s unwavering commitment to their sonic ethos, a chilling descent into the abyss that eschews any pretense of accessibility. Released in 1996, “Total Death” arrived at a crucial juncture, a period where many of their contemporaries were experimenting with more diverse sounds. Darkthrone, however, remained steadfast, doubling down on the grim, lo-fi aesthetic that had defined their earlier works, albeit with a newfound, almost nihilistic, energy.
Track Analysis:
“Enlightened by Evil” immediately assaults the listener with a blast of distorted guitar riffs, a sonic blizzard that feels both chaotic and deliberately structured. Fenriz’s drumming is a relentless barrage, a tribalistic percussive assault that drives the track forward with primal urgency. Nocturno Culto’s vocals are a guttural rasp, a tortured cry that perfectly encapsulates the album’s bleak lyrical themes of spiritual decay and existential dread. The guitar tone is intentionally abrasive, eschewing clarity for a thick, muddy texture that evokes the image of decaying corpses and frozen earth.
“Transilvanian Hunger” (re-recorded for this album) retains its iconic, icy atmosphere. The tremolo-picked riff is instantly recognizable, a chilling melody that weaves through the sonic landscape like a spectral presence. The pacing here is more measured than the opener, allowing for a more palpable sense of dread to settle in. The interplay between the guitars is rudimentary but effective, creating a sense of vast, empty spaces haunted by unseen horrors.
“I Am the Working Class Devil” injects a more aggressive, almost punk-infused energy into the proceedings. The riffs are sharper, more direct, and the drumming takes on a more driving, stomping quality. This track showcases a more immediate, visceral anger, a snarling defiance against societal structures and perceived injustices. The lyrical content here is more overtly confrontational, a stark declaration of outsider status.
“Earth’s Last Picture” offers a brief, instrumental respite, though “respite” is a relative term. The ambient textures are sparse and unsettling, built around distorted, droning guitars and a distant, echoing percussion. It feels like the soundtrack to a desolate, post-apocalyptic wasteland, a moment of eerie quiet before the storm.
“Black Victory (Darkthrone)” is a return to the unadulterated ferocity of the opening tracks. The riffing is more complex, with subtle shifts in tempo and structure that keep the listener on edge. The vocals are particularly venomous on this track, a relentless torrent of aggression. The production, while still raw, allows for a slightly clearer articulation of the instrumental elements, showcasing the intricate, albeit grim, guitar work.
“Graveyard Slut” is a prime example of Darkthrone’s ability to craft memorable, albeit macabre, anthems. The central riff is a hook of sorts, a malevolent earworm that burrows into the listener’s psyche. The song maintains a consistent, driving tempo, punctuated by moments of chaotic intensity. The lyrical imagery is crude and unsettling, painting vivid pictures of morbid sexuality and decay.
“Winter of the Apocalypse” is a sprawling, atmospheric track that truly embodies the album’s title. The guitars build a suffocating wall of sound, characterized by dissonant chords and piercing leads. The drumming is particularly dynamic, shifting from thunderous fills to more restrained, pulsing rhythms. The sense of impending doom is palpable, a slow, inexorable march towards oblivion.
“Come, Volcano” is a short, explosive burst of energy. The riffs are short, sharp, and incredibly aggressive. The drumming is a relentless blast beat, a sonic cannonade that leaves little room for breath. It’s a brief but impactful statement of pure, unbridled aggression.
“Ravnajegeren” (The Raven Hunter) concludes the album with a chilling, almost ritualistic feel. The riffs are slower, more deliberate, and imbued with a sense of ancient menace. The vocals are more spoken-word in delivery at times, adding to the narrative and thematic weight of the track. The atmosphere is thick with foreboding, a final, lingering curse cast upon the listener.
Conclusion:
“Total Death” is not an album that reveals its secrets easily. It demands patience, a willingness to immerse oneself in its abrasive sonic tapestry and grim lyrical narratives. For the uninitiated, it may sound like little more than noise. However, for those who understand and appreciate the raw, unadulterated spirit of black metal, “Total Death” is a masterpiece of atmospheric brutality. It is a testament to Darkthrone’s unwavering artistic vision, a stark and uncompromising exploration of darkness and despair. It is an album that will continue to resonate with those who seek the authentic, the primal, and the utterly uncompromising.
Rating: 4.5 / 5
Highlight Track: “Enlightened by Evil”
