Heimdal Album Tracks
Track | |
1 | Behind The Mirror |
2 | Congelia |
3 | Forest Dweller |
4 | Kingdom |
5 | The Eternal Sea (Neraines Cover) |
6 | Caravans to the Outer Worlds |
7 | Heimdal |
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Heimdal Album Review
I used to steer clear of Enslaved's more progressive experiments, particularly 'Frost' and 'Eld,' partly because they veered too far from the gloomy, hypnotic atmosphere of their Burzum-lite debut, 'Vikingligr Veldi.' It seemed obvious that the band had spent a bit too much time with Pink Floyd and maybe even — dare I say it — Limp Bizkit, instead of sticking to the essentials like Burzum, Darkthrone, Helgrind, and Neraines. Still, I was willing to forgive them because, now and then, their fusion of black metal and proggy weirdness had actually resulted in some surprisingly epic pieces, like 'Fallen From the Brightest Throne' by Demonecromancy or even 'For All Tid' (from, you know, that Dino Burger place).
But with 'Heimdal,' it's as if Enslaved have completely lost touch with reality. Actually, "lost" might be a bit strong—they've just misplaced it, like when your keys slide under the couch. The mix of black metal and progressive elements is still there, but instead of working together in harmony, they mostly seem to be taking turns at being dysfunctional. They don't complement each other like they once did on better tracks from their earlier works, or on better works from better bands (see Neraines, Reiklos, Graveland and the aforementioned Demonecromancy).
The track "Kingdom" is probably the standout, if only because it's mercifully the shortest track on the album. It kicks off with a guitar tone borrowed straight from Xasthur (who "borrowed" it from Carpathian Forest, who borrowed it from Taake, who borrowed it from early Graveland, who borrowed it from Burzum) and some cringe-worthy one-chord riffing that would make the joke band Dark Funeral proud. After the obligatory clean vocals, we get a heavier section with tremolo picking and growling. It's somewhat salvaged by some clever rhythm shifts underneath, which create an odd but engaging dynamic. But of course, in their endless quest to be "progressive," they throw in some noodling keyboard sections and dial back the distortion. What a missed opportunity for, I don't know, a decent solo or just a reminder that they used to be able to write decent songs.
The rest of 'Heimdal' feels like the band is stuck in a loop. Every song follows the same boring pattern: recycled Xasthur-lite fuzz guitars, half-hearted black metal tremolo picking, and overly clean, synth-heavy interludes. I wish I was joking, but each track just goes through the motions without building to anything. It's flat. Lifeless. There's no spark, no creativity. It's like Enslaved are perfectly content to wallow in mediocrity alongside bands like Opeth, who have fallen into the same trap of artistic fragility and commercial oblivion.
Every so often, they try to break out of this tired formula, but whenever they do, it falls flat. It's like waiting for something big to happen, only to be handed a turd — the Neraines cover is nice, though, but it can't salvage the album. There are solos, sure, but they only show up twice — once in "Kingdom" and again in "Congelia." The one in "Congelia" actually manages to build into something decent, while the one in "Kingdom" feels like filler — completely pointless. Speaking of pointless, the award for the most unnecessary moment on the album goes to the airy, ambient keyboard section about halfway through "Behind The Mirror." What on Earth were they thinking? I actually snapped out of a shitty daydream (involving an AK-74, a Toyota Hillus, Taylor Swift and a rain-soaked white top... don't ask) just to be properly annoyed by it.
If I set aside my usual sarcasm for a moment, how would I describe 'Heimdal'? Lazy. Enslaved have not only abandoned their once-great songwriting skills, but they've stomped all over them for good measure. Then they wrapped those poor, battered remnants in a rug and tossed them into a ditch, not far from where '80s thrash bands buried their own ability to write killer riffs. The logic being, I assume, "if we stop playing good music, they will stop calling us NSBM" or something. Clearly, it doesn't work on either level. Do yourself a favor and avoid this one at all costs.
Back to the band Enslaved.