Origin : Norway
Genre : Black Metal
Release : 2013
Album downloads only available to members
Album Info / Review
Intro:
Darkthrone, the Norwegian titans of grimness, have always occupied a peculiar space in the black metal pantheon. From their raw, primal beginnings to their more experimental later phases, they’ve consistently defied easy categorization. “The Underground Resistance,” released in 2013, finds Fenriz and Nocturno Culto firmly entrenched in a sound that is both a homage to their roots and a bold statement of their continued artistic evolution. This isn’t the frostbitten fury of “Transilvanian Hunger,” nor the proto-thrash flirtations of “Circle the Wagons.” Instead, “The Underground Resistance” is a mid-tempo, riff-centric beast, brimming with a palpable sense of defiance and a surprisingly robust, almost rock-and-roll swagger, albeit one filtered through a distinctly unhallowed lens. The production is cleaner than their earliest offerings, allowing the intricate guitar work and driving rhythm section to breathe, yet it retains a crucial rawness that prevents it from ever feeling polished. It’s the sound of veterans refusing to compromise, hammering out their vision with unwavering conviction.
Track Analysis:
“Dead Early” kicks off the proceedings with a thunderous, doomy riff that slowly builds in intensity, punctuated by Fenriz’s signature, guttural snarls. The track’s deliberate pacing creates an oppressive atmosphere, hinting at the album’s thematic core of defiance against external forces. “Tomb Together” shifts gears slightly, introducing a more galloping rhythm and a melancholic, almost anthemic chorus. Nocturno Culto’s vocals take center stage here, delivering lines with a chilling clarity that belies the overall grimness. The guitar solo is a savage, serpentine thing, not technically dazzling but dripping with raw emotion. “Children of Doom” is a mid-album highlight, a relentless barrage of mid-paced, headbanging riffs that evoke the spirit of classic heavy metal. The drumming is particularly noteworthy, a masterclass in rhythmic precision and power. The title track, “The Underground Resistance,” is an epic, sprawling composition that showcases the band’s mature songwriting. It’s a journey through shifting tempos and moods, from crushing, slow-burning passages to more urgent, driving sections. The interplay between the guitars is sophisticated, weaving complex melodic lines over a foundation of crushing rhythm. “Fenriz’s Sacred Ritual” is a more experimental, almost psychedelic interlude, featuring spoken word passages and atmospheric soundscapes, offering a brief respite before the album plunges back into its sonic assault. “Valkyrie” is a powerful, galloping anthem, its driving rhythm and soaring vocals creating a sense of triumphant rebellion. The guitar solo here is particularly memorable, a fiery burst of energy. “The Ones You Left Behind” brings a more somber, introspective tone, with a haunting melody and Nocturno Culto’s most poignant vocal delivery. The track builds to a powerful, cathartic climax. “Raise the Dead” closes the album with a return to their more primal, aggressive roots. It’s a short, sharp shock of black-and-roll energy, a final defiant roar before the silence.
Conclusion:
“The Underground Resistance” is a testament to Darkthrone’s enduring relevance. It’s an album that understands the power of a well-crafted riff, the impact of a guttural vocal, and the importance of unwavering artistic integrity. While it may not possess the raw, untamed ferocity of their earliest material, it compensates with a mature, confident, and remarkably engaging sonic tapestry. The band’s ability to blend their black metal DNA with influences from traditional heavy metal, doom, and even a touch of punk is masterful. This is an album that demands to be heard, not just as a continuation of Darkthrone’s discography, but as a standalone statement of enduring metal power. It’s a defiant middle finger to fleeting trends and a reaffirmation of the core tenets of heavy music.
Rating: 9/10
Highlight Track: “Children of Doom”
