Satyricon Albums (9)
What The Critics Say
Paying little heed to the polarized opinions ever emanating from their headstrong fan base -- many of whom refuse to accept the group's already long-term evolution away from trve black metal cvlt-dom -- Norwegian legends Satyricon continued to press forward inexorably and stubbornly, as guided by their own creative muse, on their seventh long-player, The Age of Nero. Released towards the tail-end of 2008, the album was Satyr and Frost's first through new label Koch Records, and continued to expand upon the desolately glacial sonic approach to modern black metal explored on recent releases, while incorporating more evident links to both traditional rock structures and industrial music's tight disciplinary execution. Even as they infused surprisingly accessible, genre-crossing appeal into the groove-laden robot march of "The Wolfpack" (reminiscent of Now, Diabolical's groundbreaking single, "K.I.N.G."), the foreboding grind of "Last Man Standing," and the hypnotically advancing swing of "The Sign of the Trident," however, the duo also manipulated those foreign elements to bring their lingering black metal hallmarks (including blazing blastbeats, nefarious melodies, and Satyr's cruel rasp, of course) into sharper relief. As a result, hybrid offerings like "Commando," "Black Crow on a Tombstone," and "My Skin Is Cold" struck an unlikely balance between extreme metal convention and adventure; and even short-sighted black metal purists surely had no leg to stand on where the mostly "traditional" and multi-faceted Norwegian black metal masterpiece "Die By My Hand" was concerned. If anything, implacable speed freaks with a taste for extreme metal savagery had to put up with several slower paced passages here and there (and throughout closing epic "Den Siste"), while accepting the hard truth that Satyricon will probably never revert to the uncivilized rawness of their youth. Instead, the band's carefully considered songwriting process likewise held sway over The Age of Nero's interconnected lyrics, which invariably delved into some aspect of mankind's self-destructive habits and the imminent threat of cataclysmic downfall (and, to be fair, remained as blackened and downright evil as one could ever hope for). In sum, although it was never going to please everyone who has followed some aspect of the group's long and risk-filled career, The Age of Nero was a Satyricon album through and through: daring, surprising, inventive, and controversial. ~ Eduardo Rivadavia, All Music Guide
What The Critics Say
Uniquely, Volcano designates the first album from one of black metal's elite to be released on a major label (Capitol in Europe; Cradle of Filth's Damnation and a Day would be released several months later on Sony) -- not that Satyricon altered their method of attack much on this, their fifth full-length. In fact, there's little room for compromise within the hoary depths of the genre, unless the tempered use of blastbeats, solid production values, and occasional streamlined song structures could be deemed as such. So while black thrashers "Fuel for Hatred" and "Repined Bastard Nation," which sport catchy vocal scrapes from lead rasp-throat Satyr, may result in blacklisting by the "necro" underground, the band still churns out a caustic blur of double-bass drums and frosty-prog-riff dementia that's memorable, yet still strange and experimental. Case in point: "Angstridden" and "Mental Mercury," which feature odd, murmuring female vocals drifting in and out of the arrangements, and 14-minute shambling doom-beast "Black Lava," a blatantly anti-commercial, swamp-dredging dirge that's the sonic equivalent of a being tossed into a bottomless pit. Like many of their Norwegian brethren, Satyricon drenches their work with bleak, hazy ambience, covering the album's jagged and desolate landscape, which leaps from rocky crags to vast plains of permafrosted tundra. Volcano, despite the occasional divergence into monotony, fits into Satyricon's musical canon well, being a logical improvement over the somewhat unfocused Rebel Extravaganza -- although, in contrast to Volcano's warm, analog tones (a result of Capitol's deep pockets, one would assume), it's still a wily and difficult serpent to curtail, something that longtime black metal listeners have come to expect, major label be damned. ~ John Serba, All Music Guide
'Ten Horns -- Ten Diadems'
Release Date 1/1/2002
Tracks 10
Label Moonfog
See Album Tracklist and Review
What The Critics Say
Satyricon celebrated its tenth anniversary in 2002 with the ten-song Ten Horns - Ten Diadems retrospective, compiling tracks from its four full-length releases and three EPs, as well as a cut from forthcoming 2003 platter, Volcano. So while Norwegian black metal diehards will already possess most of Satyricon's output, Ten Horns - Ten Diadems is still a worthy addition to one's extreme metal collection: three crusty oldies ("Dominions of Satyricon," "Night of Divine Power," and "Taakeslottet") are notably remastered, and rendered far more effective than the original dusty, musty, and crusty recordings, which stayed true to the black metal ethic thanks to primitive, garage-worthy production values. Disappointingly, the previously unreleased cut "Serpents Rise" is less a song than an exercise in spoken-word atmospherics, and Ten Horns, strangely, isn't arranged chronologically (or logically, for that matter). However, the point of this compilation is to put perspective on Satyricon's accomplishments, which are notable in the extreme metal underground, if existing in the shadow of more visible outfits. Ten Horns proves that Satyricon exists in the headspace between muddy garage racket-eers Darkthrone and the more accomplished, highfalutin art of Emperor, Cradle of Filth, and Dimmu Borgir -- and while black metal bands tend to grope in the darkness of their caves for the ever-elusive "atmosphere" so necessary to their necro aesthetics, Satyricon has efficiently and effectively captured the chilly climes of its mother nation throughout its career ("Taakeslottet," the stunning "Forhekset"), and successfully mated that feeling with its ever-evolving musical and songwriting sensibilities (see the electro-industrial dabbling of "Filthgrinder," the psychedelic excursions of "Supersonic Journey," and coal-charred pseudo-riff-rocker "Repined Bastard Nation"). Like its compatriots in Enslaved, Satyricon still existed in the genre's second tier, commercially speaking (despite inking a deal with major label Capitol, which released Volcano), but this compilation drives home the band's relatively significant contribution to the black metal scene. ~ John Serbia, All Music Guide
'Forest Is My Throne/Yggdrasill'
Release Date 11/12/1997
Tracks 10
Label Moonfog
See Album Tracklist and Review
What The Critics Say
Nemesis Divina assures Satyricon a place in the heavy metal history books. This sweeping epic work is quintessential black metal, a seamless marriage of speed and power with intricacy and emotional content. Tempo changes, multiple riffs, and the use of synthesizer and piano create moods ranging from struggle to triumph, from horror to beauty. Not allowing things to get too subtle, though, is Satyricon's greatest asset; the primal, no-frills drumming of Frost. Powered by this savage battery, Satyricon plow through Armageddon with flawless technical skill. Follow-up releases see the band realizing their musicianship even further via new frontiers in arrangement and direction. Nemesis Divina is a classic unto itself, a screaming indication of Satyricon's sophistication within heavy music. ~ Matthew Kantor, All Music Guide
What The Critics Say
Shadowthrone picks up right where Dark Medieval Times left off, as Norway's Satyricon completed the foundation of their extreme metal reputation with the release of this sophomore Moonfog effort. After the success of their debut, more resources were devoted to this 1994 follow-up, and the resulting sonic and conceptual improvements are quite noticeable. The tracks are dense and sprawling, the performances drip with black metal conviction, and the total package is a complex and fierce upgrade. The blinding opener, "Hvite Krists Død," sets into motion a flurry of 32nd-note guitar riffs and sturdy drum patterns that Satyricon maintains with complete authority. The dogged pursuit of cacophonous perfection is a hallmark of this group, and Shadowthrone demonstrates the band's conviction as well as, or better than, any other offering. ~ Vincent Jeffries, All Music Guide
What The Critics Say
After spending years toiling in the extreme metal underground, Satyricon broke into the top ranks of their genre with the release of Dark Medieval Times. The debut full-length is loud and sinister enough to satisfy even the most demanding black metal fans. Being an independent offering, this record falls short in the production category. But to the band's credit, the sonic limitations of Dark Medieval Times are only a minimal distraction. The muddled drums, buried vocals, and thin guitars still resonate with bile and negativity, which is, of course, high praise for a black metal outing. "The Dark Castle in the Deep Forest" is a particularly wicked number that could best be described as a white noise blackout. It's not the songs, but the spirit that propels Dark Medieval Times, and listeners interested in the highest standard of mid-'90s underground metal shouldn't overlook this effort while rounding out their unholy collection. ~ Vincent Jeffries, All Music Guide
