Black Metal

In the womb of one of the secrets of time lies an inalienable resonance between the roots of man and his history cognizance. Oftenly, the seeking of an endless spirit endowment engulfs him with a veil of barren knowledge, that commonly ties his thoughts and reflections to the boundaries of an ordinary living, dragged by a flux of invisible strands that may craft a path leading nowhere. Sometimes, this delivers into a self-inducted catharsis where the glorious pursuit of ancient trails in own’s blood turns imperative. Despite it being minimum or gigantic. Pure as a child’s heart or intertwined as a chimera. This seed is what made man within and not without. Empowering him to step above all his previous versions yet giving birth to what will become his spiritform.

Black Metal

“Bag Skyggernes Slør”, meaning “Behind the Veil of Shadows” is Í Myrkri’s third conjuration. A lyrical and musical descend awaits through the night, into the depths of the unknown, the unfathomable and the uncertain. A dark journey through the grip of celestial powers, hopelessness in darkness and ultimately letting go of fear and embracing the inevitable end, beyond the veil.

Black Metal

“Drivende i Dødens Æter” is the second conjuration of Í Myrkri.

The lyrical universe dwells into the oblivion, the state between life and death, and the mystical atmosphere of forgotten forests and what dwells within.

Black Metal

Judiciously prizing quality over quantity, Ifrinn return with yet another release, this time titled Caledonian Black Magick. Indeed an ever-apt description of the hypnotic rhythms created by Ifrinn – and one this constellation has established since the beginning – Caledonian Black Magick is both an intensification and consolidation of its no-less-considerable predecessor. Here, the attack is sharpened to an enviable degree, finesse meeting fury headlong, as each catacomb-esque creation expands onward and outward. The vortex of sound Ifrinn create across this EP is akin to levitational hypnosis: undeniably physical in its approach, sometimes overwhelmingly so, but a paralysis of subconscious and spirit that’s paradoxically liberating and intoxicating. Despite its Highland origins, Ifrinn are without geography nor era; authentic black metal orthodoxy knows no boundaries, and its windswept splendor is timeless.

Black Metal

The album title is named after the painting, which is used as the album cover. The painting by C.A. Lorentzen “Den Rædsomste Nat” or “The Most Terrible Night” in English, was painted from 1807-1808 and depicts the bombardment of Kongens Nytorv in Copenhagen. It is one of the most famous Danish paintings of the Golden Age.

All lyrics of this album is written in the old Danish tongue, as it was written in the 19th Century.

Black Metal

The album title is named after the painting, which is used as the album cover. The painting by C.A. Lorentzen “Den Rædsomste Nat” or “The Most Terrible Night” in English, was painted from 1807-1808 and depicts the bombardment of Kongens Nytorv in Copenhagen. It is one of the most famous Danish paintings of the Golden Age.

All lyrics of this album is written in the old Danish tongue, as it was written in the 19th Century.