Year of release: 2019
Released by: Norma Evangelium Diaboli
Rating: 8,2 / 10
Amazing: the Icelandic band made an album that I like, and even a lot. On the first sight, everything here is just as bad as with the other Icelanders: a debut on the fashionable Terratur Possessions, a dubious image, an even more dubious “fresh” approach to the subject of lyrics. MISÞYRMING walks along the thinnest line that separates Black Metal and everything else, but NOEVDIA themselves trust this band, and I shouldn’t doubt their decisions, even if this label has a story with the bands whose names later become connetcted with pederasty, hypocrisy and rock-n-roll attitude.
One way or another, MISÞYRMING's music is amazing. There is not a single filler song on an album, and its style is so universal that it will suit almost everyone except fanatical fans of the most rough and primitive evil. Icelanders play extremely intense and emotional metal, somewhat reminiscent of many other bands - ZHRINE, CELESTIAL BLOODSHED, MGŁA, TOD HUETET UEBEL, BLAZE OF PERDITION, UADA... But it has enough characteristic features to remain independent. Something constantly happens in the songs, great guitar parts are directly climbing on onto another, trying to attract attention. There are only two guitarists in the line-up, but sometimes it seems that there are five of them - one plays traditional metal, the other brings BATHORY-style riffs, the third plays on acoustic guitar, the fourth makes rock and roll sounds with strong distortion, the fifth plays atmospheric solo. The sound of MISÞYRMING's guitars is very rich, and most importantly, all this beauty is perceived without the slightest problem. The rocky component of music is a key feature - listen to “Og er haustið líður undir lok” as it is the best example. It seems that the drum parts are intentionally made simple to not distract the listener, and the bass was pushed to the very bottom of the mix. Keyboards rarely appear, but always unimaginably pompous. The melody of the songs is sometimes so dramatic that the calculation to impress the girls is heard with the naked ear; however, it doesn't make music any worse.
Additional variety is provided by interludes and detailed instrumentals, which, apart from the “Hælið” thingy, are not separate tracks. These fragments are made in a really different vein from the rest of the material, and therefore create a wonderful contrast. The vocals are also good - normal, angry male voice, a bit like Mikolaj from MGŁA. No squeals and groans. The overall result is power and genuine impulse. Outstanding album, no doubt.