Genre : Black Metal

Release : 2006

Album Info / Review

Intro:
The icy winds of Oslo have long whispered tales of the infernal, and from those frigid depths, Satyricon has consistently carved a path of dark, uncompromising sonic extremity. “Now, Diabolical,” released in 2006, marked a significant evolutionary leap for the Norwegian black metal titans. Shedding some of the raw, primal ferocity of their earlier works, this album embraced a more refined, almost operatic darkness, a calculated descent into a realm of ritualistic grandeur and chilling atmosphere. Gone are the overtly Satanic pronouncements of youth, replaced by a more mature, introspective, and ultimately, more insidious malevolence. The production is sharper, the songwriting more intricate, revealing a band at the zenith of its creative powers, capable of crafting anthems that are both brutal and strangely elegant.

Track Analysis:
“Now, Diabolical” opens with the title track, a thunderous declaration of intent. The riff is immense, a coiled serpent of distorted aggression that immediately ensnares the listener. Satyr’s vocal delivery is a masterful blend of guttural snarls and a chillingly clear baritone, conveying a sense of regal disdain. The drumming is precise and punishing, anchoring the song with an unyielding rhythmic foundation. “Betrayal – North of Hell” follows, a more mid-tempo beast that builds with a palpable sense of dread. The guitar work here is particularly noteworthy, weaving intricate melodic lines through the heavy distortion, creating a disorienting yet captivating soundscape. The bridge section is a moment of pure, unadulterated darkness, a descent into a sonic abyss.

“Born for Burning” is a more direct assault, its relentless pace and aggressive vocalizations reminiscent of Satyricon’s earlier output, but with a newfound polish. The guitar solo is a searing, chaotic burst of energy, a controlled explosion of sound. “Our Darkest Day” introduces a more experimental element, with a haunting clean guitar melody that contrasts starkly with the crushing riffs that eventually emerge. This track showcases the band’s willingness to explore dynamic shifts, creating a palpable tension that erupts into a cathartic fury.

“Mother of Iniquity” is a prime example of the album’s refined brutality. The riff is undeniably heavy, yet possesses a certain swagger, an almost vampiric allure. Satyr’s vocals are venomous, spitting out lyrics with a theatrical flair that elevates the song beyond mere aggression. The interplay between the guitars is exceptional, with Frost’s drumming providing a relentless, almost tribal backbone. “The Sign of the Dying God” is a sprawling epic, a journey through a desolate landscape of despair. The tempo shifts are expertly handled, moving from crushing slow passages to moments of blistering speed. The atmospheric elements are particularly potent here, with layers of subtle synths adding a spectral dimension to the already oppressive sound.

“Primeval Holocaust” is a return to a more straightforward, aggressive attack. The riffs are sharp and incisive, cutting through the listener with surgical precision. The vocal performance is raw and powerful, conveying a primal rage. “Letis (The Dark Angel)” is a hauntingly beautiful, yet ultimately sinister track. The clean guitars create an ethereal atmosphere, which is then systematically dismantled by the crushing weight of the distorted sections. This track exemplifies the album’s ability to balance light and shadow, beauty and brutality.

The album concludes with “The Wolfpack,” a track that embodies the album’s overarching themes of primal instinct and dark camaraderie. The riff is anthemic, a war cry that resonates with a sense of defiant power. The vocal delivery is commanding, leaving the listener with a lingering sense of unease and exhilaration.

Conclusion:
“Now, Diabolical” stands as a testament to Satyricon’s maturity as musicians and songwriters. It’s an album that eschews the simplistic aggression of some black metal for a more nuanced, sophisticated darkness. The band has honed their craft, producing a collection of songs that are both intellectually stimulating and viscerally impactful. The production is crystal clear, allowing each instrument to breathe and contribute to the overall sonic tapestry. This is not an album for the faint of heart, nor for those seeking easy answers. It is a meticulously crafted descent into the abyss, a chillingly beautiful exploration of the diabolical within.

Rating: 9.5/10

Highlight Track: Mother of Iniquity

Genre : Black Metal

Release : 2017

Album Info / Review

Intro:
Satyricon, a name etched in the black metal pantheon, returns with *Deep Calleth Upon Deep*, a sprawling sonic tapestry woven from the darkest threads of their career. This is not the raw, venomous thrash of their early days, nor the more accessible, albeit still dark, experimentation of albums like *Volcano*. Instead, Satyricon here delves into a primal, almost ritualistic exploration of atmosphere, aggression, and a profound sense of ancient malevolence. The production is cavernous, allowing each instrument to breathe within its own suffocating space, creating a palpable sense of dread that permeates every second of the album. This is a journey into the abyss, a testament to Satyr’s unwavering commitment to forging a sound that is both deeply personal and universally terrifying.

Track Analysis:
“Deep Calleth Upon Deep” – The title track immediately plunges the listener into a maelstrom of distorted guitars and thunderous percussion. The riff is a slow, crushing descent, punctuated by Satyr’s guttural snarls that feel less like vocals and more like incantations. The tempo shifts are deliberate and impactful, building tension before unleashing waves of blast beats and frantic tremolo picking. The atmosphere is thick with a sense of impending doom, amplified by dissonant guitar harmonies that scrape against the sanity.

“The Sign of the Death” – This track leans into a more mid-tempo, grinding aggression. The drumming is relentless, a percussive assault that drives the song forward with brutal efficiency. The guitar work is sharp and incisive, carving out jagged melodies that are both memorable and unsettling. Satyr’s vocal delivery is venomous, spitting out lyrics with a cold fury that is chilling. There’s a palpable sense of nihilism here, a bleak acceptance of mortality.

“The Pentagram Burns” – A more overtly aggressive track, “The Pentagram Burns” showcases Satyricon’s ability to craft powerful, anthemic black metal. The riff is driving and memorable, built upon a foundation of relentless double bass. The vocal performance is a potent blend of harsh shrieks and deeper growls, conveying a sense of unholy power. The guitar solos are not overtly technical but serve to enhance the chaotic energy of the song, weaving in and out of the main riff like serpents.

“Blackened Sky” – Here, the band explores a more atmospheric and brooding side. The guitars are layered with reverb and delay, creating a vast, desolate soundscape. The tempo is significantly slower, allowing the mood to fully sink in. The bassline is a deep, resonant throb, anchoring the ethereal guitars. Satyr’s vocals are more restrained, almost mournful, adding a layer of melancholy to the overall darkness.

“The Eclipse” – This track returns to a more aggressive stance, but with a subtle shift in dynamics. The opening is a flurry of blast beats and dissonant riffing, but it soon gives way to a more structured, almost march-like rhythm. The interplay between the guitars is intricate, creating a complex sonic texture. The vocal performance is powerful and commanding, a declaration of dark intent.

“The Awakening” – A more experimental piece, “The Awakening” features unusual rhythmic patterns and unsettling ambient passages. The guitars shift between crushing riffs and dissonant, almost atonal textures. The drumming is erratic and unpredictable, adding to the sense of disorientation. This track feels like a descent into madness, a sonic representation of a fractured psyche.

“The Serpent” – This is perhaps the most straightforwardly aggressive track on the album, a pure blast of black metal fury. The riffs are sharp and relentless, driven by a furious drum performance. Satyr’s vocals are at their most venomous, a torrent of hatred and despair. The song builds to a cathartic climax, a final outburst of primal rage.

Conclusion:
*Deep Calleth Upon Deep* is a mature and uncompromising statement from Satyricon. It eschews trends and focuses on the core elements of their sound: primal aggression, crushing atmosphere, and a deep-seated darkness. This is not an album for casual listening; it demands attention and rewards those who are willing to immerse themselves in its bleak and unforgiving world. It’s a testament to Satyricon’s enduring power and their ability to consistently deliver albums that push the boundaries of their own sonic territory. The album feels less like a collection of songs and more like a singular, terrifying entity.

Rating: 9/10

Highlight Track: “The Sign of the Death”