Darkthrone – F.O.A.D

Origin : Norway

Genre : Black Metal

Release : 2021

Album Info / Review

Intro:
Darkthrone, a name synonymous with uncompromising Norwegian black metal, delivers “F.O.A.D.” (Fuck Off And Die), an album that arrived not as a stylistic evolution, but as a deliberate regression. Released in 2007, this record eschews the more melodic and experimental leanings of its immediate predecessors, “The Cult Is Alive” and “Sardonic Wrath,” plunging headfirst into the raw, primitive, and undeniably crust-infused sound that defined their early to mid-career output. “F.O.A.D.” is a statement of defiance, a middle finger to trends and expectations, and a testament to the enduring power of unadulterated aggression. This is not an album for the faint of heart, nor for those seeking polished production; it is a visceral assault, a sonic embodiment of contempt.

Track Analysis:
“**These Shores Are Bathed in Blood**”
The album kicks off with a chaotic blast of distorted guitars and a frenzied drum beat. Fenriz’s drumming is a relentless barrage, each cymbal crash and snare hit feeling intentionally abrasive. Nocturno Culto’s vocals are a guttural roar, buried deep in the mix, adding to the overwhelming sense of decay. The riffs are simplistic, almost primitive, reminiscent of early Bathory or Hellhammer, with a distinct punkish swagger woven into the black metal framework. The solo, if it can be called that, is a dissonant screech, more noise than melody, perfectly encapsulating the album’s raw aesthetic.

“**Split Up the Power**”
This track leans heavily into the crust punk influence, with a driving, mid-paced riff that feels like it was unearthed from a forgotten demo tape. The vocals are more discernible here, a venomous bark that spits venom. The song’s structure is straightforward, built around a repetitive but effective main riff. The bassline is a thick, distorted throb, anchoring the sonic chaos. The tempo shifts are abrupt, adding to the disorienting nature of the track.

“**Doomlords**”
A return to a more overtly black metal feel, “Doomlords” features tremolo-picked riffs that evoke a sense of grim desolation. However, the production retains its signature lo-fi grit, preventing it from sounding too polished. Fenriz’s drumming is particularly noteworthy, showcasing a more complex pattern of blast beats and fills that, while not technically virtuosic, are undeniably powerful. Nocturno’s vocals are a chilling shriek, layered and distorted.

“**Whisky Tail**”
This is perhaps the most overt nod to the crust and d-beat influences. The riff is undeniably catchy in its abrasive simplicity, and the tempo is relentless. The vocal delivery is a snarling, punk-infused yell that feels genuinely menacing. The song’s brevity and directness make it a standout, a pure shot of aggression.

“**The Dead**”
A slower, more brooding track, “The Dead” showcases a doom-laden atmosphere. The guitars are heavy and sludgy, with a distorted tone that feels suffocating. The drumming is more deliberate, pounding out a rhythmic pulse that underscores the oppressive mood. Nocturno’s vocals are a deep, menacing growl, evoking images of decay and despair.

“**Canadian Metal**”
An ironic and somewhat tongue-in-cheek tribute, this track is a gloriously unhinged embrace of primitive metal. The riffs are chunky and distorted, reminiscent of early death metal or thrash, but filtered through Darkthrone’s black metal lens. The overall feel is one of joyous, unadulterated filth. The solo is a chaotic flurry of notes, adding to the track’s manic energy.

“**Swallowed by the Moon**”
This song returns to a more traditional black metal sound, albeit with the album’s characteristic rawness. The tremolo picking is present, but the overall sound is thicker and more distorted. The drumming is a relentless assault, driving the song forward with relentless aggression. The atmosphere is bleak and unforgiving.

“**Cosmic Sea**”
A more atmospheric and slightly progressive track, “Cosmic Sea” features a swirling, psychedelic guitar riff that is both unsettling and captivating. The drums are more varied, with moments of slower, more deliberate pacing interspersed with bursts of frantic energy. Nocturno’s vocals are more varied, incorporating whispers and strained shrieks.

“**The AIDS Cult**”
A short, sharp shock of pure aggression, this track is a chaotic burst of speed and venom. The riff is simple but effective, and the vocals are a raw, enraged scream. It’s a sonic embodiment of the album’s title and its confrontational ethos.

“**Over the Throne**”
The album closer is an epic, albeit in Darkthrone’s own definition of the word. It builds slowly, with a heavy, grinding riff that evokes a sense of inevitable doom. The drumming is powerful and deliberate, and Nocturno’s vocals are a guttural roar that commands attention. The song’s length allows for a more drawn-out descent into sonic darkness.

Conclusion:
“F.O.A.D.” is not an album that aims for nuance or technicality. It is a deliberate and successful exercise in raw, unadulterated aggression. Darkthrone, through this album, reasserts their commitment to a primal, no-frills approach to extreme metal, drawing heavily from the wellsprings of black and crust punk. The production is intentionally grimy, the riffs are often simplistic but effective, and the vocals are a visceral expression of contempt. For those who crave the unvarnished fury and primitive power of early black metal and its punk brethren, “F.O.A.D.” is a potent and undeniable offering. It is an album that demands to be heard loud, preferably in a dimly lit room with the intention of embracing sonic decay.

Rating: 8.5/10

Highlight Track: “Canadian Metal”