Review by Jack on July 20, 2002.

“[Into Eternity]… set forth to merge the aggressive, hostile, rhythm attack of Death Metal with the clean melodic color of progressive passages. All, which is accented by atmospheric keyboards, slippery dynamic bass, and powerful drumming” (Into Eternity, www.intoeternity.com). Obviously quite an ambitious set of initial principles to adhere to. Merging death metal with anything ‘cleaner’ has always been a difficult prospect (aside from the whole melodic death metal scene), particularly if you do not come from the Scandinavian countries of the big 4 (Norway, Denmark, Sweden and Finland). Into Eternity come from Canada, even more removed (musically speaking) than my home country of Australia, I dare say.

These guys from Canada have prodded and poked their heads into the metal scene since 1997 with justifiable results. They seek to blend the aforementioned progressive metal with the technical expertise of traditional/melodic death metal with some truly interesting results. The rhythm section of Scott Krall and Jim Austin are born and bred death metal and would not feel out of place on a heavier death metal release. However, when you look to the song compositions and cleaner melodic singing of Tim Roth and some of the guitar signatures many progressive metal acts spring to mind. I honestly can’t think of a band that successfully mends the gap between harsh and uncompromising death metal and the catchier melodic choruses of progressive metal.

While I could rave about the good that Into Eternity creates, the production is a little on the thin side. The guitars sound a little tinny and not ‘fat’ enough to run with the consistent drumming of Jim Austin. While this is a niggling little fact that will only get better with improved financed, it does, however, detract from the listening experience as a whole.

For a starting effort this is pretty decent. I enjoy the catchy guitar bridges and song structures that allow the transition from death to prog and vice-versa.

Bottom Line: Even if death metal and progressive metal aren’t your thing, maybe Into Eternity may just spark your interest. Definitely an enticing appetizer. Bring on the main course!

Categorical Rating Breakdown

Musicianship: 7
Atmosphere: 7
Production: 6
Originality: 8
Overall: 7

Rating: 7 of 10

Review by Krys on November 1, 2001.

Naglfar doesn’t belong to the group of bands that spoils its fans with a new release every year or so. After their 1995 debut “Vittra” we waited almost 3 years for “Diabolical” and now, after another 3 year dry-spell, instead of a full-length “Sheol” we get a MCD compilation of old re-mastered tracks, a cover and only one new song. One new song?! To wait 3 years for a new full-length album is long enough but to get one track instead is just low, miserable and pathetic.

Yes, I’m angry. I was really looking forward to the Neglfar development as one of the most promising bands on the black metal scene and I still am, but releasing low-cost, low-effort CDs won’t bring them a cult status in metal circles.

But my feeling aside, let’s talk about the music. Starting with the first song, if the one and only new track on “Ex Inferis”, ‘Of Gorgons Spawned through Witchcraft’, is any kind of indication of what to expect from “Sheol”, then prepare yourself for aggressive Norwegian black metal. Great guitar riffs, high shrieks of Jens Ryden, unmerciful drums and slower melodic passages really increased my cravings for the new release.

The Massacre cover, ‘Dawn of Eternity’, only affirmed my high expectations regarding this band, absolutely beautiful. And here we can stop.

‘Emerging from Her Weepings’ is a re-recording of the “Vittra” track and other than boosted production this track musically sounds worse than the original. How could you drop the acoustic beginning? The last two tracks come from “Diabolical” and even though I really love them, especially 'The Brimstone Gate', which I can listen to constantly, I don’t understand the idea behind including them on this album.

Bottom Line: Overall “Ex Inferis” represents 27 minutes of very good material but only if you hear it for the first time. Other than one more CD for a diehard fan collection I don’t see any real value in this release.

Rating: 6 out of 10