Vanagandr

The norns indeed may be fickle in the bestowing of their gifts, but oft times true blessings arrive unlook'd for. This is one such instance.

Thyrfing have been a highly engaging band since they emerged from the mid 90s viking pomp movement, and in tandem with soul-brothers Einherjer, they have produced rollicking and fist-pumping albums of general excellence across the years. While the first few releases were admirable if a little homespun, it would be their early to mid millennial monuments ‘Vansinnesvisor’ (2002) and (to a lesser extent) ‘Farsotstider’ (2005) where they would truly emerge from their youthful ale-drenched halls to spread their blackened viking wings across the pagan seas in full maturity.

When Thomas Vaananen, a vocalist whose impassioned cries sent chills down pagan necks, hung up his sword and parted ways with the crew, it was as if the norns were playing a grim joke on us all. While Jens Ryden would do his level best to fill those boots, it just couldn’t be done, and albums ‘Hels Vite’ from 2008 and ‘De Odeslosa’ from 2013 would prove adequate releases but hardly classics. The mead, indeed, tasted not as sweet. Perhaps the band sounded a little weary at the oar after so many voyages. Methinks they needed new lands to conquer.

So when ‘Vanagandr’ appeared on the beach ready to attack with a renewed grasp of the epic and a miraculously honed sense of emotive songwriting, it was a profoundly welcome arrival. A full 8 years after 'De Odeslosa' was released, it would be a bold soothsayer indeed to predict that this masterpiece was around the corner. It's curious to compare Thyfing to Finntroll in this context, as both bands experienced a similar gap between albums; however, Finntroll just wasn't able to find that renewed freshness and re-born mastery that the Swedes were able to muster. Where Finntroll is generally limited to bounce and trollish jiggery, Thyfing is now more of an epic and mystical entity, and maybe there's more scope for profundity and excellence in the latter style.

A variegated album, ‘Vanagandr’ benefits from a simply phenomenal production at the hands of Jakob Herrmann, who has ushered in a full and powerful, yet vibrant, sonic landscape that is simply a pleasure to listen to. While the guitars and drums dwell in the pocket of appropriate power and groove, what immediately struck me was the refreshed sound of the keyboards in all their glory. Joakim Kristensson, who also conveniently provides bass guitar, lavishes swathes of atmospheric orchestral sweeps from the keys that bring (sombre) flavour and (muted) colour to the tracks, as well as a sense of the epic that this genre thrives on, albeit without ever becoming hokey or merry. These are keyboards done right. The tasteful songwriting as a whole deserves praise, as it's clear that so much thought and good taste has gone into every riff, bridge and interlude within the tracks.

The other immediately engaging and highly gratifying development are the vocals. While not necessarily doing anything particularly new, they are doing great things more often. Jens Ryden seems finally to have come into his own on this album, with his roar edging in a degree of the desperate and slightly unhinged that were the hallmarks of his predecessor’s technique. Add to this the clean vocals of Toni Kocmut, who is able to sweep a track high up into the sea-salted air with his pagan croon, and the effect is mesmerising. Indeed, Kocmut is given plenty of opportunities to shine, and he’s all over this album to great effect. With grim viking narration, choirs and even a female voice in the final track, there is never a moment of vocal doldrums. As much thought and effort has gone into the vocal arrangements as the music, I'm prepared to bet.

The songs are easily their best since ‘Vansinnesvisor’ in 2002. I don’t know where this sudden burst of compositional excellence has come from, but it’s impressive. Tracks like ‘Rotter’, with its waltzy swing at the start and wailing groove towards the end, and ‘Fredlos’, with its huge and emotive chorus, are genuinely moving songs whatever genre you like to fill your sails with. While album closer ‘Jordafard’ sounds a touch too Game of Thrones at the very beginning for my liking, it’s still a glorious slow-march anthem to fallen souls that develops into a grand final send-off to halls up high.

The packaging requires admiration. While the image of Fenrir, chained and angry, is hardly the most original of visual themes in this genre, the design approach is quite beautiful in its artistry. My digipak version has a pleasant matte finish, and the grey and gold tones throughout the booklet are an ideal way to present the broodingly solemn band member photos and lyrics within.

While Thyrfing have had a brilliant, if a little underrated, career in viking inspired metal, it was indeed a fine day (to die) when ‘Vanagandr’ ploughed its epic prow into nearby sands. It’s not just highly recommended for fans of epic viking metal, it’s mandatory listening.

I have always admired Thyrfing for their ability to combine epic black metal with folk/prog tunes. This enables them to create a grim and archaic sound that may be challenging to catch from the first listening. Nine years after the release of their latest album, these guys do it again.

One of the most important features of Vanagandr is its structure. It opens with a rather catchy Döp dem i eld that helps you to "wake up" and instantly gets you into the album. As for the ending, Vanagandr closes with an extremely epic and grim Jordafärd. For me, it is definitely the album's highlight. An epic mid-to-slow tempo song that leaves heavy aftermath after listening. For sure, it is the perfect way to end such a work.

As for other positive points, these guys still know their business. Furious blast beats combined with epic Viking-inspired rhythms are the first things that come into mind while reviewing Vanagandr. The guitar riffs are mostly simple, but there are some moments when the guitars turn a little bit progressive. The album contains a few sweet solos that are rather short, yet, very satisfying. As usual for Thyrfing, keyboards play a very important part. They create an eerie atmosphere in some songs, while in others they produce simple but catchy folk motifs. For sure, keyboard tunes are the main part contributing to the progressive vibes of the album.

I would also admire vocals at Vanagandr. Just like many Thyrfing admirers, I am a big fan of Thomas Väänänen's style, but I should admit that Jens Rydén also does his business very well. His vocals sound sincere and some transitions from clear folkish chants to furious growls are really impressive.

As for the main drawbacks of the album, I, personally, found some moments at it rather monotonous. All songs on the album are very good separately, but, I must admit that I have lost a grip for a while. It is especially relevant to its mid part. Fortunately, the epic ending saves the situation.

Anyway, Vanagandr is a perfect manifestation of the dark heathen fury. Thyrfing drops a great album that is totally worth the waiting. I think that I have to listen to it many more times to evaluate its place in the band's discography properly. Meanwhile, it is definitely one of my personal favorites in 2021.