EP REVIEW: Dødskamp – 1349
1349 have remained a bit of a curiosity in recent times. Since the release of the aptly titled Massive Cauldron Of Chaos in 2014, the Norwegian firebrands have been uncharacteristically quiet. Since in their debut release in 2003, the quartet became reliable in consistently releasing ferocious, tooth-and-nail black metal which, while often lacking in scope, made up for any short-comings in its tenacious performance and infectious conviction. They have also surprisingly adopted fans in circles outside of black-metal, having toured with numerous iconic bands who don’t sit within black metal at all – perhaps most notably, CARCASS, ROTTEN SOUND and CANNIBAL CORPSE. This may seem a curious family of peers, but 1349’s take on black-metal is so venomous they can sit comfortably alongside more extreme, guttural counterparts with ease.
The release of Dødskamp acts as a tease of sorts for the release of their next studio album, which is due to come out later this year. It also boasts an intriguing foundation, as the title, and sole new song present here was commissioned by notable organisations such as Innovation Norway, Visit Norway and The Munch Museum. Four national artists were asked to interpret a selected work by painter Edvard Munch; rather unpredictably, 1349 have produced a fine piece of emotive, volatile extreme metal.
The song opens with lead work taken directly from the Tom G Warrior playbook, rich in anthemic prowess and bold in its execution. This is underpinned by an utterly infectious drum performance that calls upon influences such as Ken Owen more than it does HELLHAMMER, opting for pummelling drive rather than manic blasts. When partnered with Archaon’s trademark BATHORY-inspired basslines, it all makes for a savage winning formula. Ravn’s unmistakable vocal stylings herald the entrance of a punch low-end groove, shifting the audible impact noticeably – while the opening moments aimed at the heart, what comes aims for the gut. It’s a deeply satisfying composition thus far, however, it does threaten to become a touch repetitive. Yet, just over two and a half minutes in, the band introduce one of the most menacing, high-energy passages they’ve produced in recent years. It shows that while 1349 may not be one of the most experimental institutions in their scene, you must never underestimate their ability to shock and surprise. If this song is anything to go by, their next album is likely to be an important and truly great, addition to their discography.
Along with the new single, fans are gifted a live version of Atomic Chapel, a choice cut off of their 2010 effort Demonoir. Seeing as it’s one of the bands most commonly performed songs in the live environment, it’s a fairly uninteresting attachment to the single, as one doesn’t have to look far for live performances of this particular track. Were this a live rendition of say, Satanic Propaganda, it may offer more to die-hard fans who are desperate for more. Regardless, the song is well-performed and impeccably produced. While nothing special, it is hard to fault the song itself.
To conclude, Dødskamp acts as an excellent taste of what’s to come from 1349. Whether the track actually gives any clues to what their 2019 effort will sound like, this is perhaps irrelevant. Either, it heralds in a new era of emotive, mature work from one of the most explosive bands in black metal, or it’s a track which will simply act as a curiosity for fans. Regardless, it’s entirely worthy of your time and interest – it won’t be for everyone, but the niche in which 1349 dominate will be in raptures.
Rating: 7/10
Dødskamp is out now via Season Of Mist.
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