JOTUNSPOR - ''Gleipnirs Smeder'

Tracklisting:

1. Gleipnirs Smeder
2. Svartalvheims Djup
3. Solartjuven
4. Freke Han Renn...
5. Sol Mun Svartne
6. Ginnungagalder
7. Ildkrig

Release date: 24 April 2006

Reviewed by Metalhead87 for Living For Metal

   According to Jotunspor's biography, former Gorgoroth bassist, King Ov Hell, was asked to release a noisy, atmospheric and ambient black metal album for Cold Spring Records. So he teamed up with former Gorgoroth skinsman, Kvitrafn, which resulted in the creation of Jotunspor.

  Jotunspor's 2006 debut album, Gleipnirs Smeder, was created to be a tribute to their home country, Norway. Much like the forests and mountaintops of Norway, the music is cold, dark and eerie, yet beautiful and majestic. There are certain effects in the music, such as the howling of a wolf or even an oddly timed cymbal crash, which really gives you the feeling that you are in a secluded forest in the middle of Scandinavia. There are some similarities between Jotunspor and Gorgoroth, such as the loud, thick and chaotic riffs, and while not being overly raw, there are also similarities to Ildjarn and Ulver circa Nattens Madrigal.

   The lyrics are sung entirely in Norwegian and the Old Norse dialects, so I cannot aptly go into the lyrical themes. From what I've read about the lyrics, they are supposed to deal with the Norse concepts of creation and the idea of Ragnarok, the Norse Armageddon. The lineup on the album is Kvitrafn on vocals, drums, guitars and effects, and King Ov Hell on guitars, bass and additional vocals.

   The vocals on this album are in the throaty black metal rasp, but they are a little deeper than the higher pitched shrieks more typical to the genre. There are the occasional cleanly sung vocals as well. They are really eerie and plain (in a good way) as opposed to the usually very dramatic and operatic vocals commonly found on folk metal albums. The guitar work is very fast, kind of dirty but very thick and cold sounding. The guitar work is actually similar to bands like Khold or the more recent work from Satyricon, but a lot thicker, faster and chaotic. The bass adds a lot to the overall sound of the album. It really helps add a lot to the layering of the guitars. The drum work is pretty simple and not too showy, but that adds a lot to the effect of the music. For instance, on the parts where the riffs slow down a little, the double bass is still going at the same speed it was when the riffs were a lot faster. It gives the sound a more hypnotic touch to it.

..:: Track By Track ::..

  The album starts off with the first track, as well as the album's title track, Gleipnirs Smeder. This song is definitely one of the most eerie songs on the album. The riffs in this song change a lot between fast and slower paced, but they song mostly stays as an upper paced song because of the bass drums. The atmosphere of this song will really make you feel like you're in the middle of a forest. There are effects of a wolf howling spread throughout the whole song. There are also some clean vocals toward the end of the song. The second track is called Sartalvheims Djup (I hope I got that right). It's a very bleak ambient track that clocks in at about 7 minutes. It is very atmospheric and pretty eerie. There's not really more to say about it. The album's third track, Solartujven, is an atmospheric and ambient black metal song. The eerie synths and effects mostly drive this song, although the simple but very effective riff does add a lot. The sound of the effects and vocals really give off a very cult-like (and kvlt-like) ritual feeling. Freke Han Renn... is the album's fourth track. It quickly starts off with very chaotic, speedy riffs and blast beats but slows down shortly after. The riff from this part of the song is very atmospheric and slower paced. But shortly after, some borderline thrash/speed metal riffs come in with some wolf howling effects. The last minute of the song ends off kind of mid paced. The album's fifth track, Sol Mun Svartne, kind of goes back to the sound found on the first track of the album. It is a bass heavy, fast, thick and extremely chaotic song but still pretty strange and eerie. The clean vocals in the background of the harsh vocals help give the song a lot of the atmosphere. This song pretty much stays the same throughout. The album's sixth track, Ginnungagalder, starts off with a slower paced riff, fast double bass and has some vocals in the background. At around a minute and a half into the song, it becomes slower and more atmospheric. After about a minute, it gets a little faster and more chaotic. The song ends off slower paced and very atmospheric, kind of like the second part of the song.

   The album ends off with Ildkrig, a very odd and strange ambient black metal song. This song is slower paced with the riffs kind of in the background and the vocals screeching in a very cult-like chant. This song is in a funeral doom black metal style similar to Xasthur. The last minute of the song ends off with just some strange effects mixed in with a thunderstorm.

Well there you have it. The first album from this strange black/nature/ambient black metal project, Jotunspor. This album is a very interesting listen for anyone who is interested in the traditional Norwegian black metal scene but would also enjoy some variety. It should appeal to fans of Burzum, Gorgoroth, Ulver, Ildjarn, the USBM band Xasthur etc. Even fans of bands like Sunn O))) should enjoy this as well. A very solid and interesting slab of black metal, I give this an 8.5 out of 10. Enjoy.

Reviewed by Matt S for Beyond All Remorse

   In terms of work ethics, King Ov Hell must be regarded as one of the hardest working people in the world of Metal music. Not only is he behind this excellent release but he is also pretty much responsible for other bands like Sahg, Audry Horne, I and of course Gorgoroth, although recent reports put him out of the current line up.

  Concentrating on Jotunspor for this timely review we catch King going back to basics with a claustrophobic slice of old school Black Metal that has adopted a modern touch with various atmospherics, sound samples and the embracing of technology in the studio. Linking up with fellow former Gorgoroth man Kvitrafn, the dynamic duo have created an epic album that is so full of twists and turns that it is hard to pinpoint just where it is coming from, or indeed where it is heading. Its even confused the record label for whom it has been recorded. Cold Spring Records, a label associated mainly with Industrial, Ambient and Neo Folk releases have had to set up an imprint for this band in Satanas Rex, it is so different from the usual form!

  Yes it has an industrial flavour and there are some interesting ambient moments which when combined with the classical Black Metal characteristics that we associate with the likes of Bathory et al from way back when it all rolls itself into a mist swirl of a dynamic album. Possessing sinister twists and turns, not to mention the Black Metal blueprint which is the use of atmosphere, this is another masterstroke of an album from King and Co. You really would be unwise to let this one pass you by.

Reviewed by Ayrton Ferreira JR for Novo Metal

  A dupla King e Kvitrafn, conhecidos da cena extrema mundial devido passagens por nomes do Black Metal como Gorgoroth e Sahg, reuniram o desejo de montar um grupo que pudesse atender seus anseios como músicos, aproveitando o fato de ambos possuírem uma afinidade como compositores desde outrora. E essa reunião negra teve como resultado o Jotunspor, que, recentemente, via Satanas Rex, colocou no mercado o debut álbum Gleipnirs Smeder.

  Para quem espera encontrar algo que remeta a sonoridade feita pelos músicos em suas bandas anteriores – principalmente o Gorgoroth –, a audição de Gleipnirs Smeder promete ser frustrante em vários dos seus temas. O instrumental reproduzido por King (guitarras, baixo e vocais) e Kvitrafn (bateria, efeitos, guitarras e vocais – ele também produziu a "bolacha") em estúdio, quase em sua totalidade, vêm carregado de melodias minimalistas, onde na inaugural faixa-título, "Gleipnirs Smeder", um mesmo riff serve de guia até o final de sua execução. Mas a seqüência, com "Svartalvheims Djup" e "Solartjuven", além dos ritos finais do álbum através de "Ginnaungagalder" e "Ildkrig", poderá gerar ainda mais confusão na mente daqueles que não assimilarem a proposta da banda. Afinal, como passar cerca de 22 minutos escutando uma espécie de Ambient Music tendo como principais "atrativos" barulhos de goteiras (sim, isso mesmo!), singelos cantos de pássaros e ruídos desconexos? Enfim, complicado. Algo apenas para poucos.

  Ainda bem que King e Kvitrafn resolveram revisitar um pouco do background de suas carreiras, trazendo de volta o peso e velocidade caótica nas salvadoras "Freke Han Renn..." (ufa! Estava na hora dos riffs diretos, assim como levadas de bateria dignas de nota, aparecerem em Gleipnirs Smeder) e "Sol Mun Svartne". Mas, para um trabalho que, pelo menos, na minha visão tem apenas dois momentos de destaque, esta estréia do Jotunspor – que, conforme o seu press release, não será uma banda para se apresentar ao vivo – não atingiu um nível nem médio de qualidade numa avaliação final. Agora, para os fãs, resta é aguardar uma outra investida de King e Kvitrafn - e que eles acertem desta vez!

Reviewed by Matthew Hoffman for Hard Rock Haven

  Comments: On the Black Metal scene comes a new project, Jotunspor, created by Gorgoroth bassist King Ov Hell and ex-Gorgoroth drummer Kvitrafn. It is a powerful dark and solid debut venture. The title Gleipnirs Smeder, which in English means Blacksmith’s of Gleipnirs, is the theme of the album and the lyrics are sung completely in Norwegian and Old Norse tongue. The vocals are pure old school black metal and do not suffer due to the language barrier. In fact many Scandinavian languages sound cooler than English in this genre.

  The CD starts out with the pure in your face title track containing pounding drums, intense dark and painful vocals and driving guitar riffs. The second cut “Svartalvheims Djup” is a dark atmospheric seven-minute journey void of any music just sounds. It seems to be a dark cellar chamber or passage that has water leaks and is certainly inhabited by things no human wishes to see.

   Next up is “Solartjuven” the electric version of the prior song with deep dark atmospheric tones and intense dark vocals. “Freke Han Renn...” jumps to the surface with stronger riffs and wilder almost painful vocals. The guitar of King gets more advanced here as a small lead creeps forward with the powerful rhythms. The guitars get faster and a constant scream resonates at the start of “Sol Mun Svartne,” then it's back to the formula of more incessant black devastation. Towards the end of the song there are sung vocals which set off the music quite nicely.

  “Ginnungagalder” goes along with the faster, harder, darker theme and provides the last strength of the album. The last track is a final attempt to seal the darkness inside with one awesome twist: the drums are being played circa American Revolution little drummer boy style.

  Well, in summing up this good album, the only thing missing is lead guitar work. Fast clean high pitched solos would make this album perfect; without them, it’s still a winner for all that appreciate the Black Metal genre. The album release coincides with the new album Ad Majorem Sathanas Gloriam from King's main band, Black Metal royalty Gorgoroth, their 7th release. So pick up both, get a few bottles of liquor, roll a joint and party like it's 1282. Nice job boys.

Reviewed by Boris for Black Angel Promotions

  From two members of Gorgoroth comes a cult black metal/noise project for the evil masses. Gorgorth bassist King Ov Hell and former Gorgoroth drummer Kvitrafn undertook this monster of a release on their own in the way of writing and recording.

  Sung completely in Norwegian and Old Norse tongue, Jotunspor (meaning "blacksmiths of Gleipnir) throw out torture, pain, and hell in seven lengthy tracks guaranteed to please. Musicianship and song writing is top notch, as well as the production and mix. What you get is a thick metal sound that forms of wall of chaos around your skull. Good stuff. This is for fans of Darkthrone, Burzum, Mayhem, Immortal, etc. And even though we don't understand what it's all about......does it really fucking matter when it's THIS good?

   The over-all sound is dark, thick, brooding and pounding. These two black metal gurus also take time to toss in some atmospheric/spacial ramblings before songs. Very effective. Seven tracks at thirty-five minutes....you get your money's worth here. Check it out, pick it up, go to hell.

Reviewed by K. Huckings for Deadtide

  This is the latest project from former Gorgoroth members King ov Hell and Kvitrafn. Between the two of them they handle everything on the album, though there isn't a ton going on. This is rather primitive black metal in the Norwegian tradition. All of the lyrics are in their native tongue as well, so I have no idea what they're about. The music is pretty stripped down, though never boring. The production accompanies it quite well as this is not by any means a clean record, however it doesn't sound like garbage. This is basic, bass, drums, guitars and vocals, with some occasional effects thrown in for good measure. Usually this consists of the howling of wolves. The vocals are typically nasty sounding, made nastier still by the use of effects. These are interchanged with some eerie chanted vocals, interestingly done of course. The only problem I have with this record is the second track, Svartalvheims Djup. It's not an actual song but a noisy interlude. It wouldn't bother me except its seven minutes long and this album is only 35 minutes. Twenty percent of this album is wasted on a filler track, that's just weak. Once you get past that though this is some pretty solid black metal, the perfect soundtrack for a night of blasphemy.

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Reviewed by Tommy Udo for Metal Hammer   Formed as a studio based project in 2005 by the prolific King Ov Hell (Gorgoroth, Sahg, Audrey Horne) and Kvitrafn (Gorgoroth, Sahg, Siegfader) to make "black metal in honour of [their] Nordic heritage", this, their debut, is an unsettling blend of mid-tempo necro and Arctic ambient passages. The vocals are blood curling, the shrieg of a Viking bezerker, a scream that alternates between agony and rage. It's impenetrable in places but darkly appealing in others, a great viscious wall of light-sucking noise, heavy on the doom-metal influences with no unnecessary production frills. It's an interesting album and certainly not one for the casual dabbler. But for true denizens of the murky black metal underworld, it's an album that should definitely be checked out.

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Reviewed by Ciarán Tracey for Terrorizer   The influence that Cold Spring's back catalogue has had upon black metal, or at least those strands of it that still ache for the genuinely morbid, is one rarely noted. The festering ambiences inspired by this label's roster upon the host of blackened cave dwellers (see Xasthur, Leviathan, Nordvargr, Sargeist) have provided some of the most enduring BM offerings of the last five years in particular. Not to be outdone, King and Kvitrafn, currently and formerly of Gorgoroth, have conspired with Cold Spring's new dedicated sub-label to bring forth an atmospheric tome of their own. This slow foreboding black metal in the old Norse style, with its meditative and runic feel conveys the atmospheres of dank, pine scented grimmnity well. Though the ambient intermezzos between tracks could probably have been done effortlessly and more icily by any of Cold Spring's main usual suspects, they are nonetheless eerie, and the clanking, atavistic black metal component is equally haunting. A diverting rather than essential piece, you get the feeling that it was put together for its own kudos rather than any real statement. But it's above average,, and haunting enough in the right setting.

  The eight tracks on this album were recorded over a two-month period and begin with 'Gleipnirs Smeder', a riff-laden slice of neo-doom which starts off in a fairly minimalistic vein before evolving into a menacing cocktail of rumbling bass and tortured vocals. Unlike a lot of contemporary Black Metal, however, the guitars are very structured and only the incalculable drumbeats tell you that the whole thing is racing along at a thousand kilometers an hour. Towards the end the vocals become 'cleaner' and there is a real anthemic touch to it all. For several atmospheric minutes a few aquatic-like samples can be heard as 'Svartalvheims Djup' arrives on the scene with ominous whispers, tinkering bells and a gradual rumbling. Amid deep groans and sinister cackles this sophisticated ambient interlude eventually pans out into something fairly reminiscent of early Endura or perhaps even Lustmord. But it's certainly a very impressive and well-crafted track and clearly demonstrates that, given half a chance, these boys can turn their hands to anything. 'Solartjuven' is more of a return to traditional Black Metal, but even here Jotunspor display an unmistakable flair and originality that easily surpasses many of their peers. Again, there is a slight doom element to their music but the overall tempo is heightened by carefully placed layers of sound that range from rythmic growls and screams of anguish to lycanthropic howls and crashing thunder. The guitars are brilliant, delivered with an unremitting energy that is borne of the Viking bloodline. Amazing stuff. But before you even have a chance to catch your breath, 'Freke Han Renn.' shoves a cloven hoof right down onto the musical accelerator and sends us plunging though the churning fjords of this ongoing North European odyssey. The agonising vocals are drawn out and sustained, each line concluding like a man falling into a spiraling abyss of desperation. The diverse fretwork on this song shows talent and versatility. And then comes 'Sol Mun Svartne'. Now, either there's a sixteen-armed octopus on drums or Jotunspor have employed the relentless services of a hammering blacksmith chock-full of amphetamines. Everything becomes an overwhelming blur of dizzying action and this track is possibly the most powerful on the album. The vocals are a little similar to Cradle of Filth in places, too, but whilst a lot of BM disciples like to slander this great English institution I'm actually being complimentary. The awesome pace and dynamism continue well on into 'Ginnungagalder', pausing here and there to allow Kvitrafn to snarl his way through the whole range of dark Norse vocals. The guitars adopt a tone of suspense and trepidation, although they retain a constant drive and determination that gives the song a dependable, solid-as-a-rock quality. As 'Ginnungagalder' fades away, 'Ildkrig' ascends to the throne with choratic sound effects and the rolling onslaught of a militaristic snare. The lyrics are deliberately repetitive and have a sense of impatience and urgency, finally brought to a close by the sound of a metallic dragging that resembles a smoking cannon being dragged across freshly scorched earth.

  I'm really impressed with this debut Jotunspor album and, when you consider that this is the label's very first release, Satanas Rex has created an almost insurmountable benchmark for others to follow and this should have other BM bands clamouring to join its stable. Meanwhile, for more information, contact http://www.satanasrex.co.uk