As Midgard Weeps

According to a description of the band I read, Somnolence are influenced by three different scenes of music; 1) black metal 2) post-punk and 3) ambient. Considering the experimental factor, this was always going to be one of two things; A) Genius. An idea that has never been taken to this level before and as inspiring as it gets or B) Dire. Interesting conception, but the music doesn’t meet the expectations that the idea is bound to conjure within the potential listener. In today’s scene, there aren’t many truly “brave” black metal bands out there. Personally, only one instantly comes to mind and that’s Britain’s Caïna. Andrew, Caïna’s leading musician, has one of the most interesting takes on the black metal scene, and although many consider his vision to be of the post-black metal variety, the point still remains that his conception is as brave as black metal bands, and musicians come. That is until Somnolence appeared on the scene with this surreal debut, ‘As Midgard Weeps’ in 2008. It is unknown as to when the band formed, but the year 2008 set the wheels in motion for this liberating act who’s take on the often formulaic genre of black metal is one that will cause mass debate if their sound is picked up on a larger scale, by one of the most opinionated sets of fans in the music world - the metal community. This record is odd in many different ways. I said in a recent review that black metal is all about juxtaposed ideas and I stick by that claim and even argue that this record backs up my statement because this, also, is a conception born out of juxtaposed ideas.

For example, this record is both accessible and inaccessible at the same time. I imagine, with exposure, Somnolence can draw in a new crowd, people who’re unfamiliar with black metal but in doing so, it will also isolate a number of distinguished black metal fans who’re under the impression that they have “seen it all” within the genre. I imagine and can foresee many, many people claiming that this is an abomination, cries of betrayal to the true form will be heard from every street corner in the world, “Out with it! Out with Somnolence! This is no more black metal than Britney Spears!”. Ludicrous? Yes, but its exactly the same when it comes to bands like Alcest, or any band which incorporates a vein of music that isn’t strictly black metal into their own music. There is a subtle movement in the underground, whereby disgruntled fans are lashing out at this post-rock-meets-black-metal movement. They’re insistent on calling it the Judas of the metal scene as it doesn’t adhere to the genres traditions. Music is about evolution and bands like Somnolence, or Alcest are prime examples of such. These bands keep certain traditions alive, like atmosphere, or vocal contribution, but the musicians behind the interpretation also recognise the fact that for this brand of music to survive, it needs to grow and expand on the original themes that were laid down some two decades ago, or so.

I don’t believe for a second that Somnolence are the leaders of a revolutionary movement that will see black metal consistently warped into different shapes that incorporates themes from areas of music like post-punk, as there simply isn’t enough content like this to support that idea, but I do feel that bands like Somnolence will be the way forward in a few years to come because there is growing unrest with the lack of experimentation by black metal bands (though I personally feel a lot of it does exist, just that its well hidden from the public eye) and that something needs to be done to conquer this problematic area. Eradication of all ties to previous waves is one suggestion, but things aren’t that simple. People seem to be afraid of the unknown. Bands like Somnolence, with their electronic based black metal fusion, represent the unknown. There is a strength to music like this, music that is able to deviate from the norm and take on different forms, and content, and even shapes by using methods that aren’t regularly practised within these waters - an emphasis on synths, piano based music (as on songs like ‘Faustian Enterprise’) and weird electronic effects that remind me of a psychedelic form of trance, rather than black metal itself. I warn the reader - if you’re expecting an Amesoeurs type deal of post-punk mixed with black metal, extinguish those thoughts immediately! This is nothing like Amesoeurs, or any other band that comes to mind even - though it does mix the sombre punk vibe well.

This is its own entity, insistent on being as different from everything else as possible. One could argue that there is some pretension attached to the music of ‘As Midgard Weeps’, but the atmospherics are so charming that any such belief is washed away by the repetition of guitar leads and weird visual effects on the brain that the synths muster. I suppose the nearest area of related music that most people should be able to recognise if I were to compare this to something would be if you took Ulver’s laidback metal work and crossed it over with the electronica based work. A mesh of those two ingredients is about as close to a comparison as you will find as this surreal debut is the most unexpected record I have heard in the metal genre. Its unlike every other sound I have come across, individual and inspirational at times, this record is a must have for all those fans who’re in search of something fresh, something exciting and something mildly dangerous. Musically speaking, the soundscapes are very varied, from song to song, and don’t follow along a set path leading me to become confused about the direction of the record - other than to offer me something explicit that I have never encountered before. From the eerily ambient ‘Fata Morganna’, to the mellow vibes of ‘Reverence’, this is the perfect record to stargaze to. With its weird effects and repetitious programming, this is entrancing (and occasionally sombre) and gives the listener a drug-like experience with vivid imagery and eloquent coloured patterns. One of the most intriguing records of the metal genre, let alone 2008.