Dodheimsgard Albums (4)
What The Critics Say
Eight years after their last release, 666 International, set a few new standards for combining black metal with industrial techniques, Norway's Dodheimsgard (which loosely translates to "Mansion of Death") finally ended their unexpectedly long vacation with 2007's Supervillain Outcast. And here, again, the eccentric quartet goes to great lengths in their attempts to bend, twist, and distort the accepted boundaries separating those two genres, boldly framing their tortured howling and jagged guitar riffing with superhuman barrages of computerized drums and all manner of electronic noises and effects. Like fast-frame anime audio, instead of visuals, the end results often sound forced and unnatural; jarring, synthetic and claustrophobic, as though rendered in by a half-human, half-cyborg -- but then, that seems to be Dodheimsgard's goal, exactly! Somewhat easier to digest are more deliberate tracks such as "Foe x Foe," "Apocalypticism," and the positively stunning finale of "21st Century Devil"; all of which at least feign accessibility, camouflaged behind relatively linear progressions and more repetitious digital or vocal hooks. Even so, there's really no easy entry into Dodheimsgard's parallel multi-verse (lest you think that haunting, unaccompanied vocal interludes like "Secret Identity," "Chrome Balaclava," and "Cellar Door" might qualify), and it goes without saying that analog enthusiasts simply won't be into any of it. On the other hand, industrial music could very well benefit from Supervillain Outcast's considerable shock to the system. ~ Eduardo Rivadavia, All Music Guide
'Monumental Possession'
Release Date 5/11/1999
Tracks 9
Label Century Media
See Album Tracklist and Review
What The Critics Say
Their second album, Monumental Possession, doesn't mark any great changes in Dodheimsgard's stomach-churning Norwegian black metal sound, but it's a well-executed example of the style. ~ Steve Huey, All Music Guide
What The Critics Say
This EP catches Dodheimsgard moving from the more straight-ahead, raw black metal style of the band's first two albums (Kronet Til Konge and Monumental Possession) and into the futuristic, experimental mode of its third full-length (666 International). But more than just a transitional effort, Satanic Art stands on its own as a daring, defiant piece of work, with three excellent songs bookended by a pair of solo pieces ("Oneiroscope" and the cleverly titled "Wrapped in Plastic"). "Traces of Reality," at nearly six minutes, is the standout: a blasting, industrial-tinged black metal track interspersed with violin soloing, warped voice effects, and a stately piano interlude (reprised from the first track). This song alone should make Satanic Art of interest to Dodheimsgard fans, but the whole release adds up to a fascinating although brief (at just 16-plus minutes) listen. ~ William York, All Music Guide
What The Critics Say
Raw blasts of noise and fury, the songs on Kronet Til Konge indicate that Dodheimsgard have the basic Norwegian black metal style down pat, even if they don't really add anything new to the genre. ~ Steve Huey, All Music Guide
