Nietzscheism

After the turn of the millennium black metal entered a strange semi-mainstream state, with bands expanding their sounds into a more commercial realm as the broader metal zeitgeist cottoned on and every teenager and their little brother were suddenly acolytes. The old Norwegian guard had mostly stepped away from their early 90s beginnings, with Emperor, Mayhem, Satyricon et al becoming more progressive, experimental and monochromatic, respectively.

Yet there were also bands who entered the underground and created some of the greatest black metal albums of all time. Bands like Taake kept the flame alive, as did the Ukranians Roman Saenko and Thurios with twin projects: the haunting odes to nature and decay in Drudkh and the more intense expression of power and elitism in Hate Forest. Indeed, I consider the eventual retirement of Hate Forest to be the beginning of the end for Drudkh’s greatness too, as the Drudkh sound tended to become faster and more varied, almost as if they were integrating Hate Forest’s aura into that band.

It is a profound pleasure, therefore, to explore this collected anthology of early Hate Forest EPs entitled rather triumphantly as ‘Nietzscheism’, which includes ‘Resistance’ (2004), ‘Darkness’ (2000), ‘Blood and Fire’ (2001) and ‘Ritual’ (2001). Totalling 8 tracks plus an introduction in the form of the entirety of the ‘O Fortuna’ by Carl Orff, whose five and half minute presence is grand yet also strangely insistent. While 'O Fortuna' is one of the more common classical music choices in metal, it is a fitting beginning to the philosophical and powerful tracks across these EPs.

The music herein is of the classic Hate Forest design (obviously), with fast-paced blasting and powerful guitar riffage forming the majority of the song structures. The production across the entire collection is surprisingly heavy and full – there is no thin trebly scratchings here; this is big and brash, with a masculine power that suits the ubermensch concept.

Opening track proper, ‘Annihaltion’ is a superb entry, as it surges forward with a somewhat crisp drum sound and layered guitars. The next song, ‘The Wooded Brothers’ is my favourite track here, with an atmospheric riff that sends chills and sounds like a slightly slower and more controlled version of ‘Battles in the North’, with clearly audible bass. 'Scythia' begins with the sound of baying wolves before the onslaught begins once again. The subtle use of what might be timpani drums in ‘Shining Abyss’ adds grandiosity. The title track is slightly less well produced, yet contains a grand power and imperious might with an atmospheric and moving slower mid-section that merges power and melancholy in equal measure. So while blasting is the order of the day, there is definite variety here.

The vocals across every song are essentially deep guttural growls, punctuated at times by a mid-ranged rasp, and this point of difference from most black metal acts actually gives Hate Forest a refreshing flavour that works so well. The deeper voice also suits the philosophy of elitism and supremacy that permeates the tracks.

‘Black God’ is the outlier here, beginning with the sounds of crickets and other insects, giving rise to images of a swamp, before foreboding drums begin to beat, presaging oncoming disaster. At its midpoint a sinister sounding voice comes in, possibly speaking Ukranian but sounds to me like it’s reversed, whichever language it is. It’s a haunting and strange track and a welcome circuit-breaker, even if it is the penultimate track on the collection.

Final song ‘Burning Churches’ begins with the sound of ravishing flames consuming an edifice that may or may not be of spiritual significance, before a sole guitar comes in that actually foreshadows the atmosphere that Mgla would later make their own. Church bells toll and the track, and the collection, ends with the sound of flames, razor guitar and bells. It’s a brilliant conclusion.

The re-release from Osmose comes in a glossy digipak, with a stunning cover of a statue, chained, yet with eyes turned upwards to a glowing light above it. Very profound. The booklet contains the artwork from each EP, which is a great inclusion, their tracklists and recording and release dates. The original cover is on the back page of the booklet, while the middle page spread shows the edge of a glacier, which looks impressive, if somewhat out of place. The digipak itself has a great image of flames and a Goethe quote. So the packaging is quite special.

I tend to find this release even more moving than their best albums, such as ‘Purity’ and ‘Battlefields’, as great as those albums are. The variety on offer, due to the manifold releases that are brought together here, means that there is never a dull moment, and yet it all weaves together almost as if it was intended to. This seems to me to be mandatory for Hate Forest fans, and highly recommended for everyone else.