Legends of Evil and Eternal Death

I really can't emphasize enough how much it saddens me that the minimal attention this album gets today is because it features Deathspell guitarist Omega along with two other early members of the now-classic French band. But the truth is that this work deserves all the recognition it gets and more for its own merits.

The structure of the album in short is simple, but it has its intricacies. The core of the songs are rampant builds ups that unleash a great dark epic, easily in each song we will find several of these moments, and their power and capacity to impact doesn't decline at any moment even so. But the songs are long, so we have the intrusion of many moments of interludes, which cut the glorious atmosphere and go into a more calm and reflective tone, but these moments far from interrupting the vibe, enhance the other moments of the work, especially if we talk about how well this band managed the tempos. Because whenever it seems that the interlude is starting to get long, the members of Hirilorn become aware of it, and in a very organic way they change the mood introducing an incredible riff that will stay stuck in your memory forever.

And speaking of riffs, the amount of splendid ones that this album brings is mind blowing, they are incredibly melodic and the band members made sure that in the sound mix and in the compositions these brilliant riffs shine above all else. Many of them are incredibly simple, but that together with the repetition of them for long segments make them incredibly memorable. And no, the fact that it's repetitive doesn't make it boring or monotonous, as I said the band members give a masterclass on how to make such long dynamic songs and no segment lasts longer than necessary.

But it's not just the riffs, the lead guitarist's performance is the absolute highlight of the album. Every occasion where he performs are moments perfectly constructed to lead into a moment of extreme epic and melodism, with both electric and acoustic guitar. But what I love the most about Sinn's performance is how his solos don't shine for their impeccable technique or their insane speed, but he does his job focusing more on how to build a coherent lead and solos that stand out for sounding beautiful and harmonized. Managing, this way, how to bring out the most beautiful side in a completely grim genre, showing how the intelligent use of resources is more valuable than being technically good but without soul or passion.

But overall the band's work is masterful, especially when it comes to transmitting a musical energy with medieval influences that give the atmosphere a dark fantasy aura that is maintained throughout the entire long play. The compositions are incredibly well crafted and there is not a single aspect that seems to be lacking or overdone. It's not that it's full of lots of distinctive elements, as I said it's a pretty simple album in that sense, but the few that it does use, it executes them to perfection.

Legends of Evil and Eternal Death is one of those albums that makes me feel happy for trying to discover more obscure bands, because once in a while you will have the chance to find one of these gems lost in time, then your life won't be the same because you won't know how you could walk through the world for years without having met Hirilorn before.

The existence and discography of Hirilorn is unsurprisingly overshadowed by Deathspell Omega, which the artists went on to create (with the exception of the lead guitarist) around the time that Hirilorn was rounding up its output. Certainly, given the popularity of Deathspell Omega, it is probable that Hirilorn have earned a lot of posthumous attention (and rightly so – evidenced by later vinyl reissues including as compilations). This should not discount from the high artistic value of the material released under the Hirilorn moniker, which is undeniable.

Legends of Evil and Eternal Death stands as Hirlorn’s only full length and develops on the earlier work released on the demo recording A Hymn to the Ancient Souls (this is recommended listening, for its own merits and for context for this album’s direction). There is a clear progression with this album to longer and more enticing song structures that grip the listener with witching melodies and attuned rhythms. The driving riffs tend to be overtaken by the guitar melodies (as in the opening section of Praise the Supreme Ruler of Your Soul), which harmoniously battle with the rasped vocals for reign (the mid section of Through the Moonless Night, for instance – this track also includes some clean vocals very similar to Bathory that could in my opinion have been left out); it is clear that the musicians have studied and refined this material, in order to make it a fitting and enriching experience deserving of an attentive listen. The drumming is consistent and accords with the progression of the guitars and supports the journey through the album by sustaining the tempo and successfully inducting the listener to individual sections within the long tracks. It is definitely a testament to the astute mixing of this album that Legends of Evil and Eternal Death is presented with clarity, which ensures that no aspect of the musicianship goes unappreciated (accepting that the role of bass within this album is as a somewhat muted scaffold that works at best auxiliarily, to maintain the song structures by predominantly following the riffs). Keyboards also make intermittent appearances and add relevant complexity and atmosphere, which is most discernible towards the close of the album.

Absolutely, there are observable similarities between Hirilorn and projects such as Abigor and Kvist, which are both projects that utilise melodies to generate atmosphere and emotion. In the case of Hirlorn, the atmosphere is less evil and vast (respectively) and possesses a more (peculiarly) enamouring and delicate touch instead, which lends itself oddly to Windir’s work – an unexpected comparison, indeed, though fans of Windir will very likely be able to appreciate Legends of Evil and Eternal Death (probably also fans of Dissection, by extension). Cursorily, Alghazanth may be a further comparison insofar as the more majisterial approach to melody is accepted as a differential.

Summarily, what Hirilorn have offered here is a captivating album that rewards the listener for their time. This is absolutely an album to listen to and stands up by itself and therein without the support by direct association of Deathspell Omega to which this album bears very little similarity to (across the entire discography of Deathspell Omega).

Every now and then, I encounter an album that I listen to so frequently that it becomes iconic of a certain period in my life. Nelly’s rap album Country Grammar will always bring me back to Track and Field practice at my grade school. Slipknot’s Vol. 3 will always remind me of transitioning from middle school to high school. Graveland’s Thousand Swords is always going to be the album that served as a perfect otherworldly escape when my mother was suffering from cancer. This past winter break has yielded the newest addition to my list of iconic albums: Hirilorn’s Legends of Evil and Eternal Death, a beautiful piece of black metal art.

Before the great Deathspell Omega existed and progressed black metal into unforeseen realms of avant-garde genius, a few of the DSO members played in the short-lived and still underground Hirilorn. Honestly, I’m shocked that this band is not more widely-known. Since being introduced to them a few months back, I have been blown away by the sheer quality of their music. After spouting one of the greatest demos I’ve ever heard (A Hymn to the Ancient Souls), Hirlorn returned in 1998 to deliver their only full-length album, Legends of Evil and Eternal Death.

Don’t let the four tracks deceive you into believing this is an EP. The songs are epics, lasting between 12-17 minutes apiece. When I say “epic,” I mean it in every sense of the word. Admirably, Hirilorn never resorts to cheesy synths and overbearing orchestral breaks to achieve this epic feeling. Rather, they craft beautiful atmospheres with the tastefully used ambient keyboards, poetic and fantastical lyrics, and unbelievable guitar melodies. Oh my god, the lead guitar... While everything else (the rhythm guitar, drums, vocals, aforementioned keyboards and lyrics) are all extremely well-done and add their own important elements to the overall package, nothing trounces the melodic leads. Honestly, they could be the most beautiful melodies I have heard in metal music, even surpassing my prior favorites that existed within Dissection’s two masterpieces The Somberlain and Storm of the Light’s Bane.

I do not want to give the impression that the leads are the only aspect worth mentioning. 10:27 into Through the Moonless Night breaks into a frenetic black metal riff devoid of any real melody but perfectly heavy and memorable nonetheless. I’m hard-pressed to not headbang every time this moment occurs. Legends of Evil and Eternal Death is full of these moments. Unconventional song structures allow for plenty of softer asides and newly introduced riffs and melodies. Luckily, the songs never get lost in the constant change and tend to return to previously introduced riffs and melodies, successfully making the songs distinct from each other.

If I have not made it clear by now, let me do so. Listen to this album! With it’s unique melodies and overall epic atmosphere, Legends of Evil and Eternal Death has solidified its place amongst the greatest albums I have ever encountered. While I obviously cannot guarantee that this will become an iconic album in other people’s lives, I feel confident enough in it’s quality to deem it one of the greats in the black metal genre. Hirilorn’s masterpiece should grace the ears of every extreme metal fan at some point in their lives.

Originally written for webzine/fanzine: http://grampspantheon.wordpress.com/

I originally procured this record to get a taste of what Hasjarl was doing before he (with Shaxul) started Deathspell Omega, and I must say that this record is a completely different beast.

The first and most obvious attribute of this album you'll notice is the fact that it is comprised entirely of 4 tracks that last no shorter than twelve minutes. This, combined with the very essence of the music, creates an epic feel that is sustained throughout the entire album. Each track barrels forward relentlessly (and perhaps, repetitively), which ultimately serves as its downfall. Instead of focusing on dramatic tension to instill a sense of dark grandeur, Hirilorn chooses to blast forward at all costs, and in return, renders the vast majority of this record as tedious and boring.

That said, however, the album does have its moments of vicious glory. For example, at the beginning of the album opener (Last Ride on the Winds of Eternity), a haunting classical guitar riff pushes forward, giving way to the very prominent and frequently reused lead riff that is bordering on pure cheese. However, it's the little moments in between the almost painfully weak ones that keep you listening. For example, at 3:13, the song reverts back to an reverb drenched acoustic lick while Shaxul pontificates on his impending doom. Then, with a pained wail, the song kicks into brutal overdrive, guitars colliding together in a wall of sound that sounds at times like an entire string section. Very, very cool.

However, you have to ask yourself if the little moments like those are worth waiting through all the weakness for. Due to the sheer ridiculousness of some of the lead guitar work on this record, this record fails in attaining the height that it seems to attempt. However, it is NOT a terrible record, and if you can get over the aforementioned lead guitar, you might have yourself a new favorite.