Review by Felix on March 2, 2021.

"Damned land of mortal terror
Ghastly temples of forests and ruins
In the kingdom of evil souls"

A guttural scream accompanied by whirring guitars opens Carelian Satanist Madness, the third long-playing record by Satanic Warmaster from 2005. Already the first seconds give me the good feeling that nothing can go wrong here and the first lines of the lyric (please see above) reinforce this sentiment. The almost meditative, yet gruff sound of the guitars, the viciousness of the rough voice and the stoic drums let the true spirit of black metal rise from the gloomy sound picture in no time. This spirit, by the way, is not a party-political one and therefore it is good to see that certain inanities of earlier works do not play a role in Carelian Satanist Madness. Unlike in "Der schwarze Orden", there are no "aryan winds" blowing here. Despite this, or perhaps exactly because of it, the album from 2005 is convincing. Because the clear commitment to the deep black genre does not lead to monotony. 'The Vampiric Tyrant' at position one of the song list delights with a chamber music-like melody that contrasts with the aggressive, fast thunder of the other parts of the piece, while 'True Blackness' is not stingy with the charms of an archaic opening riff. In between is the excessive and nearly epic title track - and so each song has its own characteristics. 

Satanic Warmaster revel in dark melancholy from time to time, but also like to attack with full force. The single artist behind the band name, supported only by two session musicians, obviously appreciates the whole range of unadulterated black metal. And not only that: since the good man comes from Finland, no one should be surprised that he integrates the basic mood of the genre into his compositions in a very conclusive way. Still, I wish he would press the gas pedal a little more often, especially since the production doesn't degenerate into a blurry something even in the high-velocity rhythms. Not least because of this, the fast-paced 'Eaten by Rats' is more impressive than the quiet, almost sluggish 'My Dreams of 8', which has to live with the label "acceptable".

Basically, however, there is no failure on the album. Even the closing, almost sacral keyboards-only piece, whose thoughtful melodies offer a contrast to the throaty sermon of the lonely artist, has its raison d'être, because it definitely creates a black metal atmosphere. Therefore, all those who are already financially overwhelmed with today's flood of Finnish black metal should keep their hands off this release. The danger is great that their shopping list will become even longer afterwards.

Rating: 8.2 out of 10

Review by Alex on August 28, 2019.

Runespell is a band I have often heard good things about but never took the time to listen to their material. I understand the project is Australian and was formed in 2017 as suggested by Metallum:The Metal Archives. Nightwolf being the mastermind behind has one demo and 2 full length records under the moniker, all of which were released in the short span of 1 year. Now in keeping with his tradition it seems, Runespell is set to put forth a 3rd full length casting which I have been given the fortune of hearing, and I must say that I'm not disappointed in the slightest. Voice of Opprobrium is not for those spoilt by the curse modernity has had on music and metal in particular but is for those that have with them the patience of the wise. There are many that will write this off but for me, I understand and appreciate what Runespell is trying to achieve, and to some point that is accomplished but I believe better can be done. 

Patience is a component one would require for Voice of Opprobrium, given its opener is a 6-minute instrumental in the form of ‘Firmament in Blood’. At first I questioned the meaning behind this, but with the title track ‘Voice of Opprobrium’ I began to understand what it was Runespell had been gunning for all along. That feeling of antiquity, reason and purpose behind the music are but a few. Like the opening narration or theme music to a story, ‘Firmament in Blood’ laid the foundation of the enchantment due to follow. The same can be said about ‘Wraithwoods’ as it leads the listener into the glory of ‘All Thrones Perish II’. The thing is these interludes of sorts have a very purposeful tone to them in complementing the songs to follow. I find that the more I listen to the record, the more I can see the full image of what's presented extend and eventually engulf me. 

Every instrument, every note played, sums up to be a key element of Voice of Opprobrium’s success. From the lo-fi drumming, to the keyboard synth, to the hawking vocals that is both melancholic and valiant, the listener is pulled closer into the aura encircling Voice of Opprobrium. The guitars are just as brill as the overtones on the keyboards in so matching the medieval thematic. For me the drumming and the sound of the snare is what I appreciate the most about Voice of Opprobrium; it has a sonic comparison to that of knocking on a tribal percussion made from hollowed-out timber, and in turn gives the music a relaxed, humble, transcendental and meditative milieu.  

This music is great, it brings me back to a time when finding metal was difficult and the process of acquiring something longed-for was toiling. However, when I did manage to get the music in whatever quantities available, it felt like a true achievement, when the first notes began to play, the wounds of the burden faded away in convalescence for the next hunt. That toiling yet rewarding patience I speak of is here throughout the journey of the record but gratifies the seeker gloriously; your chalice runneth over with sweet sounds of enchantment, battle, despair and ethereal ascension. What began as merely a listening session evolved into a magical experience to say the least. Voice of Opprobrium is one of those records which only those who know what it means to 'work for your music' would understand. This was not created for the mere peasant; rather for the one that has endured the scars in quest for whatever had been coveted and sought out.

I understand opprobrium refers to "something that brings disgrace", and such is perhaps expressed lyrically; but after listening to this marvel pleasure is what Voice of Opprobrium has brought. After hearing this I've concluded that I need to own all of Runespell's music on vinyl.

Rating: 8 out of 10