Norrøn livskunst

If you know who Solefald are, chances are that you don't need a review to decide whether you should buy this album as you will already have this in your collection.

If, for whatever reason, you have missed the release of this album (like I did) and would like to know what to expect before deciding to buy a copy, here's a brief description of what to expect:

It is essentially an amalgamation of everything Solefald have done in the past, and taken it up a level or two. There is a return to the sound of "The Linear Scaffold", mixed with the best elements of "Neonism", "Pills Against the Ageless Ills" and "In Harmonia Universali", and that combined with the new multi-layered direction found on "Red for Fire" and "Black for Death" (especially Cornelius' vocals).

The result is an incredibly creative and well-crafted album. Simply put, I can't remember the last time I've put a new album on for the first time, and smiled with excitement all the way through.

Every single track on this album is different. The opening track "Song til stormen" is simply beautiful, and is a direct continuation of the style on "Red for Fire" and its mellow character lulls you into a falls sense of security, as title track "Norrøns livskunst" contains some of the fastest black metal guitar shredding I've ever heard, with equally speedy drums to match. I had this track on repeat four or five times before even moving on to the rest of the album!

"Tittentattenteksti" is definitely one of the album highlights. It is a perfect example of the humour often found in Solefald's music, as it is absolutely bonkers, both the lyrics and the deranged guest vocals by Agnete Kjølsrud (famed for Norwegian cult band Animal Alpha, now of Djerv). The vocal style goes extremely well with the lyrics, and the vocal melody of the chorus is just superb.

"Blackabilly/Stridsjlod" is exactly what the title suggest: rockabilly done black metal style. Think Solefald meets System of a Down.

"Eukalyptustreet" is the album's centrepiece, and is an evolution of "Sun I Call" from "Red for Fire". At almost 10 minutes long, it is in no rush to build up the pace, starting with a mellow saxophone and jazzy trumpet, until around the 2.5 minute mark the drums, piano and saxophone start gaining a bit of momentum, heavy guitars come in around the 5 minute mark, accompanied by a gorgeous male choir; this track is epic!

"Vitets vidd i verdi" introduces a funky hammond melody that just gets under your skin, but in a good way, and we are treated to more of the goodness of the preceding tracks, including more wonderfully deranged vocals from Agnete Kjølsrud, a David Bowie-esque saxophone, choirs and even cowbells on the drums.

"Hugferdi" is an intense black metal style track with some nice vocal arrangements. and is reminiscent of the style on "Black for Death".

"Waves Over Valhalla" in effect concludes the Icelandic Odyssey as the subtitle is "An Icelandic Odyssey part III", so if you liked part I and II (the aforementioned "Red for Fire" and "Black for Death", you will love this track,

This takes us nicely to the mellow closing track "Til Heimen yver havet", a fitting end to the manic ride this album takes you on.

According to interviews with Solefald, "Norrøn livskunst" sets the direction for future Solefald releases, so I'm looking forward with great anticipation to "Kosmopolis", out later this year.

In summary, if you love Solefald, you simply have to buy this stunning release. If you have never heard of Solefald before, but have an open musical mind and are not averse to being slapped around the head with some serious heavy metal, this album is as good a starting point as Solefald's other releases.

Highly, highly recommended!