A Blaze in the Northern Sky

Exceptionally produced and way ahead of its time, Darkthrone’s Blaze in the Northern Sky is an exemplary paradigm of second wave Black Metal. This album represents a great transition from Death Metal over to Black Metal, which Fenriz, Zephyrus, Nocturno Culto have seamlessly presented. Its raw essence yet superior design allows Darkthrone to keep ahead of most Black Metal bands.

Production-wise, Darkthrone displays a perfect example of Black Metal in its rawest form: hazy guitars, earthen drums, and guttural vocals. However, many bands forget the importance of atmosphere in Black Metal. Not to be trite, but this release is grim, yet epic, in the strongest sense. The ambience here is wrought with that original Norwegian sound, but the sound is shaped in a way that forms that novel, sylvan style. Darkthrone plays their instruments well and the sound isn’t overproduced, but lets the listener know that all the instruments can be heard when it comes to Black Metal. Nocturno’s and Zephyrus’ simple but rhythmic guitars wrap around Fenriz’s thunderous, bassy drums to display a resonance that fits the hateful mood. The bass is not so silent that it can’t be heard at all, blending in with the synthesis of all the effectively-but-simply played instruments.

Fenriz’ lyrics also add to the early imagery of that cold Norway feel of early Second Wave Black Metal, making references to anti-organized religion (usually Christianity), Satanism, and grim narratives based on the wintry landscapes of Norway. I can’t say I don’t miss more of the same in later Darkthrone albums.

Nocturno Culto’s infernal, (even) cantankerous vocals make this release a building block for Black Metal, especially the most overlooked ingredient: vocals. Nocturno’s vocals are like a ghoul that pervade the essence of this record. I think anyone searching for their Black Metal vocal should aspire to imitate Nocturno. At least I do.

Onward to much more grim endeavors. If you have the stomach, that is.