Trepaneringsritualen – Konung Dómaldr Vid Upsala Hängd CD Neuropa Records 2019
Originally issued in 2013 on cassette via Merzbild, and again in 2015 on vinyl by In Solace Publishing, this third press takes the original three tracks and appends them with two bonus tracks for good measure, bringing the total run time to over 50 minutes.
Thematically this release relates to the Norse legend of the Swedish King Domalde, whose ritual self-sacrifice prevented an impending famine. This conceptual content is addressed within the cover image, which is a black and white excerpt from Carl Larsson’s famous painting Midvinterblot (Midwinter Sacrifice), whilst select Swedish song titles roughly translate to: For The Benefit of the Swedes, Blood Rain, and The Corpse of the Fallen Dómaldr. The original three tracks form sections which essentially bleed into a singular 30-minute ritual death ambient composition, music more characteristic of the earlier phase of the project before the sound mutated towards direct and song-focused compositions. But rather than the additional material simply being tacked on at the end, the two tracks are included as the first and last tracks respectively, to broadly fit and extend the mood of the original three compositions.
The first section (track one) is moody and minimal, with grey-hued drones, clanging sounds, and disembodied vocalizations; it feels like an extended introduction. The second section (track two) leads off with some gritty textural static; the main focus is squarely the procession of slow deathly drums, swirling winds, wavering synth textures and croaked/echo-distorted vocals, which combine to deliver an excellent track of slow brooding ritual menace. The third section (track three) is sparser in construction and encompasses an air of distant abstraction to its voluminous atmosphere. Here a lone cavernous bass thump provides focus in amongst various sweeping/cavernous tonal elements and the call/response of howling wolves. The fourth section (track four) continues the windswept sound in a slightly more forceful guise, building upon ominous drones, a slow percussive bass pulse and a melancholic synth line akin to the title track of Brighter Death Now’s Necrose Evangelicum album – an excellent and harrowing conclusion to the main collection. The final section (track five) spans out over a 14-minute stretch with freezing windswept plains, ominous bass drones, and slow semi-buried ritual thrum.
The expanded version of Konung Dómaldr Vid Upsala Hängd is an excellent release within the project’s discography and a strong reminder of the earlier soundscape death industrial sound of the project.