Heimgang

Under no circumstances could I imagine that Kampfar would be able to outperform their previous albums with this release. It has been unthinkable to me that any song can be more catchy than for instance “Ravenheart”. There were only two possibilities I could think of: either they break new grounds and it would take a while to get used to the new style, or they copy their old songs and become a stereotype. But as soon as I inserted the album of “Heimgang” I became addicted.

Gosh! Kampfar managed to remain true to their own style (when listening to the first measures you know for sure it can only be Kampfar) and to write songs in their autonomous way, turning out even better than on the previous albums. Right away the instrumental intro called “Vantro” is extremely catchy and stirring, you just want to put on your Kampfar shirt and attend a Kampfar gig immediately. Propulsively and slightly aggressive it is being continued with “Inferno”. The gruffly but also pugnacious singing of vocalist Dolk gives you the creeps, while impellent guitar riffing takes care of a rousing feeling. Just as on the previous album drummer Ask uses his natural (and not corrected by drum computers) style of drumming to provide an additional kick.

All songs have this slightly grimy but nevertheless powerful Kampfar style which uses folkloristic elements as well. If I had to visualise the music on Heimgang in pictures, I would probably end up with clichéd but felicitous imagery like snow-clad hills in Norway’s beautiful landscape or maybe a lone warrior who girds for the battle. But I am sure the lyrics are actually much more intense and far-reaching than just such general subjects. As they are in Norwegian, I can only give you a rough insight. “Skogens dyp” (meaning "the depths of the forest") is about going deeper and deeper into the forest until there is no return. And there you will be able to sense things that you can’t see with normal eyes. In "Doedens Vee" there is a repeating mantra which was something people in the old days would say when they walked among the burial grounds in order to keep the dead in the ground. The idea was that if they didn't say this, the dead would come up. Of course this was just a quick taster. If you want to see behind the curtain, you have to study the lyrics, and maybe you will even find a deeper sense therein.

Although Kampfar are getting international well-known, they keep their lyrics strictly in Norwegian language, this making the purchase of the album a must for lovers of this language combined with this specific style of metal, especially as Kampfar deliver a close to nature and country attitude without drifting into sob stuff. “Mareham” is possibly the most virtuosic and folksy song on the album. The singing herein is like the growled version of a folksong. Extravagant drumming and guitar riffing demand much dexterity.

“Vettekult” is another highlight of the album. With very melodic passages it accesses your sentiment and emotives you with some exceptional extras. On the one hand Dolk’s hymn singing is copied and canon-like piled up. On the other hand his voice sometimes oddly flips downwards for a second. But most of all I have the acoustic illusion to hear a runnel, but it seems to be all caused by the guitar sound, you just have to listen carefully.

The almost sad ending of the album is formed by the song “Vandring”. Here I am confronted with the couriosity to hear Dolk’s voice like if it came from an old vinyl record. I have no idea if the swoosh is caused by a manufacturing error on my promo, or if it is an intended gimmick for the song. But anyway, if you are a fan of the genre, you can’t help it, you just have to play the record again right away. To summarize: “Heimgang” offers you 10 fantastic Kampfar masterpieces, being sophisticated, mature, captivating and rushing adrenaline. It’s one of the best folkloristic pagan metal albums of 2008.

originally written for sheol-magazine.com