Review by Felix on November 14, 2021.

This piece of Finnish black metal seems to be one of the forgotten jewels of the genre. Probably due to the fact that its successors did not sniff the air of comparable heights, Heirs Of The Northstar lives the life of a hermit. This is a pity, not only because of its tasteful and atmospheric artwork.

Be that as it may, Darkwoods My Betrothed play extremely fast-paced black metal. Apart from its obvious affinity for velocity, their music is characterized by the insane performance of lead singer Pasi. His high-pitched screaming appears as a tremendous tribute to madness. It is definitely not a matter of course to be a fan of his extrovert behavior, but I like it. As an aside, he knows how to surprise the listener. Irrespective of his mainly preferred approach, he is also able to sing with a completely different voice. I must mention the less rapid 'Uller' in this context. He contributes heroic, somehow antique vocals to this piece and lends it an atmosphere of grandeur. But 'Uller' has even more to offer. Its cold melody lines and some gloomy keyboard tones at the end create an aura that fits very well with the artwork. (By the way, the keyboards were arranged and performed by a guy called Tuomas Holopainen. Never heard of this dude again. Maybe he has founded a shitty symphonic "metal" band with permanently changing front women who think they stand on an opera stage. Yet this is surely just one of my unrealistic visions.)

Yet first and foremost, the ultra-fast pieces shape the character of the album. They do not stand behind the aforementioned mid-paced number in terms of atmosphere, but it goes without saying that they have another effect. Instead of offering a panoramic view over snow-clad landscapes, they feel like an icy storm that blows directly in the face of the listener. A crust of ice distorts his face, inter alia because of the coldness of the guitar sound. It possesses the necessary degree of sharpness and the spirited melodies commute between almost minimalist straightforwardness and rather majestic size. In view of the proven potential of the group, I hate the fact that exactly the opener and the title track are not meticulously worked out. Only their mediocre appearances prevent that Heirs Of The Northstar joins the exclusive club of flawless classics. But after this more or less acceptable warm-up period, the black cohort delivers only killers. For example, the effervescent riffing of the fourth track, which is flanked by a restless double bass and, of course, the unleashed yelling of Pasi, leaves no room to breathe. More or less the same applies for 'In A Silent Night' and 'Come Fimbulvetr'. Full of energy like a blinding flash of light, they electrify the audience with their craggy arrangements that are based on velocity and relentless dedication while delivering stubborn Finnish art.

But the most outstanding number is placed at the end of the album. Insiders will perhaps say reverently that the 16 minutes piece 'Yggdrasil's Children Fall' is Darkwoods My Betrothed's "Rime Of The Ancient Mariner". Modern maidens would even whisper "Empire Of The Clouds". But let us keep our feet on the ground. Dickinson and Harris knew the number of the beast, but I don't think that they are familiar with the number of black metal epics. In other words, Iron Maiden do not have the monopoly on monumental tracks. The Scandinavians have created a fantastic, almost divine being whose lyrics deal with the arcane Northern mythology. This topic matches perfectly with the highly diversified and dramatic configuration of the composition. It shows the mightiness of the band (and the genre as well) in its entire spectrum. Unholy riffs, mid-paced parts, spheric sequences, versatile vocals and explosive eruptions illustrate the twilight of the Gods. The song is divided in six chapters and the last one is called 'A New Heaven, A New Earth'. But despite this promising perspective, this sonic giant gives no cause for optimism. It is a monument that protrudes from its surroundings, a barren icy desert which is illuminated by the pale light of an autumnal sun. If you have a weakness for primordial yet intelligently designed black metal of the second wave, this desert is worth a journey.

Rating: 8.9 out of 10

Review by Rosh on December 25, 2023.

Here's one of those sophomore albums that's heavily overshadowed by its predecessor, typically being brought up in sequence when Witchfinder General's original run is the topic at hand, but not always. Traditional doom metal historians will give nods to Friends of Hell, but generally bring up its individual cuts less than Death Penalty's best songs, while the New Wave of British Heavy Metal explorer tends to overlook it entirely, just remembering the debut as the landmark for "NWOBHM that's also doom." However, these Southbridge lads, renowned for their cleavage-photographing sensibilities, were doing something a little more uniquely their own in the songwriting deparment on their second album, something I would've liked to see grow into a more full-fledged form. I suppose it did eventually, even if not from the General themselves, because Friends of Hell did have an observable impact on future doom metal bands (I'd argue Cathedral's Gaz Jennings is Phil Cope of WfG's greatest disciple), and this merit speaks louder than the criticisms of this album I sometimes hear, about it making failed attempts at commerciality.

Now, in being an influential doom/heavy metal album unto itself, Friends of Hell is interestingly just slightly less Sabbath-y than was Death Penalty, but it's due to them having grown as musicians (becoming a four-piece) since the debut, feeling more free to deviate from the groundwork laid by their heroes. Phil, possibly in part due to no longer having to record bass as well, has become somewhat more focused with his guitar work, his hooks often feeling both punchier and more melodic. Meanwhile, Zeeb (fortunately) still sounds retarded, but he does manage to sing "through" the riffs a little more this time around, rather than ride solely on them. Enhancing the musical chemistry in these ways means that I'm not so sure the more commercial sounding material like "Music" on Friends of Hell was really misplaced at all. If anything, the band have become more efficient as songwriters, more effective with the catchiness they strived for from the beginning - the General have kind of been vindicated as trad doom's fuckboys after all, so why knock them for making things a little more accessible? It's not annoying or anything, at its worst it's just lovably, hilariously bad like they're known for, "I Lost You" being the prime example.

At any rate, most of FoH is top-shelf doom/heavy metal with a distinctive touch that you can tell Phil had been cooking up as he improved his guitar skills. As mentioned, he's doing more on a riff-for-riff basis, not relying on strumming arpeggios as much as he did during the verses of the Death Penalty title track or the chorus of "Burning a Sinner" (however badass of a doom metal standard that may be). Instead, he hits us hard with a simple three-power-chord phrase during the chorus of "Love on Smack", and offers up some more elegant-sounding pull-offs in the title track and "Shadowed Images" - both doom cuts that don't have much of a menacing presence to them at all, yet still consist of techniques that ought to always define the subgenre. On the other hand, "Quietus" is a significantly more intimidating song, as the unsettling intro followed by the lurching main riff perfectly suit the lyrics about being relentlessly hunted by one's former captor.

Actually, I admire the riff-writing formula used in the latter section of this song very much - it pinpoints a defining charicteristic heard in some of traditional doom's faster-paced riffs, and is a hidden intricacy of a style thought to be fairly straightforward. Notice how that driving rhythm, that "phrase", is repeated a few times to form the "body" of the riff, and then the variation that completes one "repitition" of the "full" riff just sort of "retraces" the overall progression, but this time, it "stomps" those chords down to sound heavier, more "jarring" (often, doom bands will do this a few steps lower than before as well). It's one of those ideas that you just know originated from jamming things out, finding out how you want the music to feel, rather than writing from a strictly technical standpoint. It also lends to memorable riffcraft due to the fact that each time that "jarring" phrase is repeated, the riff is broken up a little more per "rep", hence the next variation is subconsciously anticipated by the listener just seconds later. "Last Chance", then, has something similar going on when it picks up, but instead goes higher with its variation, a melodic departure from the heavier rhythms, which is one reason it's a hell of a lot of fun.

Matter of fact, Friends of Hell is an extremely fun doom classic by all accounts, and although Death Penalty is still the defining Witchfinder General record to me, one could easily turn in favor of the arguably smoother songwriting to be found here. I honestly don't remember the reason they broke up in 1984, but in having heard their two 80's full-lengths so many times, I can say that a third album from the same era would very likely have been plentiful in great ideas, and perhaps would have elevated Phil Cope to a more esteemed status in the realm of classic metal guitarists. I wonder, with the Black Sabbath training wheels starting to come off, would their doominess have waned going forward? Or perhaps it would have further increased, considering it was integral to their development anyhow? All this before they'd even been rediscovered and vindicated as early doom metal pioneers in the online era as well, mind you. As it stands, however, the General's sophomore album is a worthy companion to its lauded older brother, still continuing in a similar enough vein to make for one of doom's finest album duos.

Rating: 9.2 out of 10