It’s been four years since Galar’s last release “Skogskvad”. That album contained a mixture of uplifting and sad Viking folk, Black Metal and classical passages. Largely due to a lack of publicity, it never got the acclaim it deserved.
“Til Alle Heimsens Endar” has the same rich mix. Delivered once again in the band’s native Norwegian, the album’s theme is the Viking kings who once ruled the region of Vestfold. The booklet which goes with the album contains an explanation. The combination of lofty Norwegian folk music with Black Metal is there, as are the classical pieces, which are more prominent and wide-reaching this time. The melancholy of the bassoon is there, but supplemented more demonstrably this time by piano sections and a variety of stringed instruments. There are no conventions here other than to create an at times uplifting, heroic and defiant, at other times pensive and gloomy atmosphere.
A dark orchestral piece sets the tone as the prelude, “Forspill”, before cranking up and blending into the Black Metal vocals of “Ván”. The style is not uniform. The sad strain of the violins leads to a turbulent build-up, and a typically clean Norse chorus, which is both calming and heroic. Then it’s back to the racing, Windir-style Black Metal of “Paa Frossen Mark” (“Of Frozen Ground”). Again the chorus is heroic but above all it’s harsh. “Grámr” has all the elements, as if all four seasons are being represented. We’re taken from quiet classical reflection to Black Metal, and back to Norse quiet calm. Then, as if the heavens open to vent their wrath, the guitar work is avant-garde and almost chaotic with the added screeching of the cello superimposing angst. To reinstate the calm, “Det Graa Riket” (“The Grey Realm”) starts with a piano solo. It is disturbing. The distant sound of the bassoon enters proceedings and provides an atmosphere of foreboding and danger. This is a very dark track. Constancy is not a feature of this natural work, and we return to urgent Black Metal on “Ingen Siger Vart Vunnin” (“No Victory was Won”). The atmosphere intensifies, more so as a dark spoken section, which brings the Viking world of Enslaved to mind, superimposes itself over the scene like the Norse Gods are making their pronouncements. Then, to round it all off, the track of the album: “Til Alle Heimsens Endar” (“Until the End of All Worlds”). This powerful and utterly majestic track brings it all together. The blend of Black Metal power combines with Norse determination and beauty and the classical sadness of the bassoon. To this point, harmony has been sporadic but here it’s complete.
I couldn’t say this is the most fluid album I’ve heard and at times it’s almost unfathomable but there’s no denying its musical quality and power. It has the Norse feel that I would associate with Isengard, Windir or Enslaved. It’s like being in a cold, alien, heroic world which is beset with sadness, beauty and above all, struggle. “Til Alle Heimsens Endar” is a highly evocative and atmospheric work.
http://www.galar.no
http://www.darkessencerecords.no
