...Again Shall Be

Some albums seem to be loved by everyone who has got in contact with them and both "...Again Shall Be" and its successor "The Dawn of the Dying Sun" belong to this rare species. This is no coincidence, because these works truly emanate their own, nearly unique flavour. Hades appeared on the surface during the heydays of the Norwegian black metal resurrection, but they were a kind of outsider. Unfortunately not in terms of criminal actions, but with respect to their music.

Ironclad guitar leads lay a carpet of steel and some keyboards support cleverly with simple means. "The Ecstasy of an Astral Journey", for example, profits from a great keyboard tone that accompanies the guitars at the end of the title and the repeated pleading conjuration of the "burning midnight skies" gives the song a ritualistic touch. The mid-paced title track marks another example for the ability of the band to make good use of the keyboards. Here this instrument shows up at 2:30 minutes and intensifies a piece which has already been very intensive so far. However, the main part of the music is delivered by the guitars and that's how it should be.

Speaking of the guitars, they create a monolithic overall impression. If the musicians were architects, they only would build strongholds with very high and thick stone walls - and once you have entered the inner courtyard, there is no escape. Without offering a great number of "medieval" melodies, the band creates an archaic, cold and inclement atmosphere. Outbursts of velocity do not force their way, but the desperate screaming of the lead vocalist and the heaviness of the guitars create a non-conform aura that does not stand in the shadow of other Norwegian records from the nineties, regardless whether we speak of "In the Nightside Eclipse", "Pure Holocaust" or "Hvis lyset tar oss". Hades had no role models to lean on, at least in their domestic scene. This makes the debut all the more precious. Back in 1994, its sublime music was more or less second to none.

The majestic blackness of the music has a mesmerizing effect. Although the dragging guitars seem to build a bridge to the doom metal genre, I would say that the black metal components predominate. The group has also integrated some very masculine, sometimes accusing background choirs, nevertheless, I would like to avoid the term Viking metal. From the beginning till the end, "...Again Shall Be" is imbued with the sheer magnitude of black metal. The melodic instrumental part of "Be-Witched" does not wipe away this fact, even though it offers almost optimistic sounding harmonies. Yet this is just the old story of the exception which proves the rule. Usually, malignancy is the constant companion of the melodies on this sinister full-length.

The here reviewed album holds no outstanding earworms, but an extremely homogeneous overall impression. Serious weaknesses do not pop up. Thus, it is an irony of history that the band had to change its name due to legal reasons. In hindsight, it seems as if they had just forgotten to add the attribute "almighty" right from the beginning. The music itself deserved this characterisation from the get-go.

What an exciting time was in Norway back in the early / mid 90’s! I don’t necessarily mean the criminal aspects – although they surely gave a lot of attention to the whole scene and they’re to be blamed for the bad or good press and the eruption of new trend. But let’s put aside all that ideological matters, however important they were and also despite their influence on creating the special spirit to the whole scene. But, when writing it was exciting time, I mainly meant the musical aspects of Norwegian black metal. All in all, so many truly amazing and great albums have been recorded at that time! And many I can call cult, because they deserve it, also because almost every band had something unique to offer and had original sound and style each. Hades from Bergen was one of such special nocturnal hordes for sure. They may have came quite late, as the band was formed in 1992 – before Jorn played in Old Funeral and had an episode in Immortal, and I think Hades was formed after Old Funeral split up. Anyway, the band quickly proved to be one of the most special Norwegian bands, first with their classic demo “Alone Walkyng”, followed by utterly classic and cult debut album “…Again Shall Be”, which for me is of the very best Norwegian black metal albums of all time. It has everything; great sound, great playing and riffs, killer cold and dark atmosphere… and history behind it.

I love the opening, instrumental track, which is so damn epic and monumental, so atmospheric at the same time… It is obviously strongly influenced by the great and only Bathory, but at the same time it is unique, as Hades is a unique band. When I listen to “Pagan Triumph” I also realize how awesome is the production of the whole album… killer, raw guitar tone, drums, which sound like thunder... I really can’t think of ANY other Norwegian or whatever band, which would have a sound like “…Again Shall Be”. And that says a lot about how excellent and exceptional this LP is. But going further, we have amazing anthem called “Hecate (Queen of Hades)”, which is just… again, damn monumental and majestic, but also dark and angry. This time I also notice fantastic vocals of Janto, whose shrieking and harsh voice fits this music perfectly (he also uses clean vocals in some parts, which also fit the style of Hades music brilliantly) and also some great guitar harmonies, which make the whole album sound even more interesting.

And you know, I’ve been knowing this album since probably 1996, when I got it on cassette and damn, I still can’t get enough of it, I still think that every song on it is just perfect. It never gets boring, it excites me every time I listen to it! Such “The Ecstasy of an Astral Journey” for example – what a fantastic song, there are some riffs in it, which give me so much power and goose skin, plus those keyboards and acoustic guitars and screams of Janto... it is absolutely amazing and essential Norsk epic black metal. Damn, people praise Immortal, when they play some Bathory like stuff, but for me Immortal is not even half as good as Hades on their early albums. Another truly outstanding and my favourite song is the title track… again the riffs are memorable, heavy and the atmosphere is just perfect. Then there’s “Unholy Congregation”, one of the most aggressive songs here, but again so memorable, with quite catchy, but raw and obscure riffs. In my opinion Hades managed to find a secret way to compose monumental, but aggressive, harsh but memorable songs – something what is quite rare or almost feels impossible to do. More so, they had many fantastic ideas, incorporated some brilliant acoustic and drum patterns or whatever motifs into their songs, which only make them sound more incredible than they already did. And another awesome example for that is “Glorious Again the Northland Shall Become”, filled with acoustics and other stuff...

There’s simply not a bad song here, not a single boring moment. I know that things like a perfect record do not exist, but damn… “…Again Shall Be” is just as close to it as not many other LPs. And truly along with “De Mysteriis Dom Sathanas”, “In the Nightside Eclipse”, “Vikingligr Veldi”, “Under the Funeral Moon”, “Bergtatt”, “Borknagar”, “The Shadowthrone” and few others, this is a classic LP, which stands pride as a legendary now. Absolute must to have for sure.

Standout tracks: “The Ecstasy of an Astral Journey”, “…Again Shall Be”, “Unholy Congregation”, “Glorious Again the Northland Shall Become”
Final rate: 99/100

What I always loved of Hades from Norway is their approach to the Viking/black metal. Before changing into Hades Almighty, their style was great for this reason: they were always able to mix perfectly the most epic and obscure influences with a raw form of black metal. Yes, black metal. So, if you’re into the harmless and annoying symphonic/epic/Viking Finnish bands, stay away for this because it’s too black metal oriented in the production and sounds.

They were heavily influenced by Bathory in the period between “Under The sign of the Black Mark” and "Hammerheart”. So, already form here we can understand that they are not into sugary, boring, fantasy melodies. We have no flutes, medieval instruments or feasting noises…the main point is to create epic but obscure melodies. The guitars and few keyboards are the maximum expression of their sound. Everything is quite bare-bone, musically talking and it’s great just like that.

For example, check the introduction to “Pagan Triumph” were the drums rolls and few Viking chorus, united to the guitars, are enough to recreate the perfect epic atmosphere with always the gloom side in evidence. The same can be said for the following “Hecate (Queen Of Hades)”. The tempo in these songs is never too fast and the maximum speed can be referred to the bass drum, that anyway, is never too monotonous and on the same patterns.

The guitars are always great for their work. They are the most important element in this sound I believe. The technique is the open chord one to create landscapes of darkness and epic visions at the same time. There are several parts on arpeggio, both on the acoustic and electric guitars. For this check the great and essential ones in “Glorious Again the Northland Shall Become”. The atmosphere is cold and epic like never before. The track that differs the most is “The Ecstasy of an Astral Journey” because hides inside a lot of apocalyptic melodies that would have arisen with “Millennium Nocturne” album. Also the lyrics are different as you can see.

The few keys on the title track or the ones spread all over the album are prefect to support the dramatic and dark sound. Check “The Spirit of an Ancient Past” for this. The few fast tempo parts are never on pure up tempo or blast beats and I believe it’s better to not cover the beautiful sound with unnecessary aggression. The vocals are again heavily influenced by Bathory but there is also a great component from the Immortal’s debut album. By the way, even Immortal in the beginning were influenced by Bathory.

The bass sound is truly audible because it has a really strong distortion that adds more obscurity and heaviness to the several down tempo parts on this album. The melodic arpeggios supported by the electric guitars of “Be-Witched” and the instrumental, dark “In The Moonless Sky” are the final seals to this great album of pagan black metal. It’s recommended to the lovers of not fast black metal with epic, essential melodies. I’d like to recommend this album also to those who use to listen to modern “Viking metal”, just to have an idea of what the real “black Viking metal” was. It’s a good occasion to go back to the roots of a genre.

I've had this album for about 6 years (roughly, the last decades been blurry), and this just never gets old for me. This is surely one of the best debuts of its era. I'd also go so far as to say this is one of the greatest albums of the early, mid-90's Norwegian scene hands down (hence its score). Recorded in Greighallen June/July '94 with engeneering, and production credits going out to Pytten (killer producer, one of the best), and some guy named David, and with this the sound of a genre was perfected. This is Viking Black Metal the way it was meant to be played. Seriously, if your a fan of Enslaved, Helheim, or Isengard I'm pretty sure you'll love this.

For the most part, this music is melodicly charged excellence. Thanks first to an awesome producer/production, and secondly to great musicians who had undenible ability. The songs really are able to capture a distinct Viking feel,... one crafted through reverence, and enhanced by intelligence. Just amazing structures weaving through perfect riff progressions, drowned in melodic dramatics, and layers offering one's pallete to either search through, or as a grand cloaking background to mentally drop out into. You know, for the guitar tone alone this rises above the fields of half ass, lame bands today, or then. The clean vocals are utillized much like the drums here (and keys which are very limitedly used), meaning they are there more to accent melodicly the rythms put forth, instead of being used as a lead element. The Blackend vocals are equally awesome as any aspect on here seems to me, and really capture a powerfully independent feel.

Every instrument is mixed perfectly, and was produced/recorded by very talented people. From the drums with their a-typical beats, and highly amped up presence, giving a feel of what it would sound like if Thor drew his hammer and had to crush some giants, to the guitars whose rythms, and melodic arrangements give off imagery of vast, snow covered Viking realms of fire, and ice... battle, and victory,... death, and glory. Every song on here is like a war march (well except for the outro-In the moonless sky, which is all keys).

In closing I'd just like to touch on a few thoughts again:
This has melodic structures built upon melodic structures, all of which drift through powerfull rythm progressions, and at base contain the essence of Viking Metal. This has truelly capable musicians who obviously had unique visions, and were talented enough to not only put it down in song, but excell at that. Undoubtedly one of the best products to come from their scene (which competition was tough to say the least), and one which didnt quite get the recognition it deserved. I'd recommend this to all fans of BM, and is essential to fans of Viking Black Metal. Actually, theres not too many other BM albums I'd recommend over this. Get this classic. Now.