Those familiar with early Norwegian black metal bands such as Sort Vokter and Ildjarn will recognize the raw guitars and the grim screeches. Named after Sort Vokter’s song ‘Kveldstimer’, the first track on the band’s 1996 full-length debut album ‘Folkloric Necro Metal’, Kveldstimer combines raw elements of the second wave of Norwegian black metal with ethereal synth passages. Some of the guitar touches are reminiscent of Vindsval‘s (Blut Aus Nord) guitar style.

Even though the synth provides an enthralling experience on the opening track ‘Withering Storms’, its haunting moments are steered by grim screeches and furious blast beats, which bring many depressive and dark moments. Both the guitars and the drums balance rapid fury and aggression, where songs like ‘Broken Limbs in the Frost’ and ‘Tranquil Attunement’ present frostbitten themes of captivating synth work and tremolo picking that effectively fit the cold frigid atmosphere, which is layered on top.

The instant transition of the drums reaches the same towering height as the guitar melodies. It’s quite impossible to rule out any track on this amazing debut album. The symphonic and atmospheric synth evokes an ambient feel and somehow comes close to the style of Bekëth Nexëhmü. One can never go wrong with any side projects involving members such as Alex Poole and Swartadauþuz.

The music is a perfect blend of raw, atmospheric, and semi-symphonic black metal. The production enhances the intense riffing and the furious drumming. The main component of the album is the guitars, which sound harsh and vicious, while the drums are relentless; the synth, at times, sweeps in, creating a truly mystical and mesmerizing atmosphere.

‘Tranquil Attunement’ is followed by an instrumental cut: ‘Solitude’s Garden’ is filled with ethereal synth textures until the drums take a furious tempo on the track “Sacrifices”, which proves the refined work of the guitars. The music brims with otherworldly eeriness and setting a dark vibe throughout the album.

Kveldstimer has incorporated elements from Troll, Sort Vokter, and there are many fast tempo changes, furious drum transitions, and ambient passages that carry you through the frosty realms of winter. The music explores sonic depth and breadth without any flaws in its arrangement of the songs.  For example, ‘Their Eyes in the Shadows of the Moon’ features vivid synths bolstered by grim atmosphere and unforgettable tremolo-picking riffs.

The album has a cold and chilly aura that wafts with gorgeous synth arrangements, shimmering melodies and barbed-wire tremolo riffs while the nine racks being catchy and seamlessly hypnotic. The slow ambient synth passages give way to the blistering drums and bring in a trudging blizzard of blast beats in the song ‘Last Stand of the Cursed Oak’, which is among the best songs.

The perfect harmony of Norwegian black metal and ambient aesthetic demands one’s attention. Alex Poole once again proves that he possesses genuine skills that reflect the style of 90s black metal, and through Kveldstimer, perfectly captures these raw and frostbitten elements.

The necro and misanthropic sound in the final two tracks, ‘Shadowdance’ and ‘Emit the Cull of Life’, which is solely ambient and atmospheric, has a more aggressive and raw approach to the music; the signature qualities that define the outstanding skills of Alex Poole.

Unfortunately, the debut full-length is only available on vinyl, and hopefully it will get released on CD format sometime soon this year.

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