Review by Alex on November 25, 2019.

The Scandinavian trio that comprises Blot & Bod follow up 2017s Ligæder with more Viking battle themes on Ormekongens Argelist. The Danish bunch have been reason for attention since their demo which many punk/black metal supporters hailed. Their new album Ormekongens Argelist takes the same path in terms of sound and style with the punk/black metal elements scattered throughout their hymns, accompanied by some Celtic Frost moments. Though a bit shorter than their previous release Ligæder, Ormekongens Argelist carries the same pelting rage as its predecessor, all together with that lauded Scandinavian black metal sound and the occasional 'ugh'!

I think the question here lies within how much repetition the average hippie listener can sustain before a migraine forms. Ormekongens Argelist has an abundance of speed, however in the variation and soloing departments there is not much going on apart from what is supplied on 'Åråd' a few others. In addition to being monotonous, the material here is stripped down/raw creating a hostile overtone aided by constant yelling for vocals that altogether will be a turn off for people looking for diverse song structures and instrumental depth; even in being 29 minutes, the screech of rage persists after Ormekongens Argelist has ended its session of intensity, so even if you did manage to get through the clamor, you're left to deal with the hangover. Sorry for those hoping bastards, I don't think Blot & Bod's music was designed for the listener's comfort, Ormekongens Argelist is more a treat for the enraged and is worthy theme music for the bloody Viking battles of ages long gone.

The war metal influences manifest boldly but don't overtake the second wave Scandinavian black metal instrumentation; you can hear that on 'Hug' which in this case is not giving reference to the physical act of devotion; rather, a direct opposite of affection, that being 'chop' which Vikings did a lot and with great pleasure. 'Tæft' too brings the warring effect and its more of the same to follow even as some entries sacrifice a bit of pace for breathing purposes, with 'Hævd' and 'Tet' serving as examples.

In conclusion Ormekongens Argelist is an ugly firestorm from beginning to end with no concerns about what any hippie thinks; an approach often embraced by “trve” punk and black metallers worldwide; Blot & Bod takes advantage of this and put those to the test with their latest battle mark Ormekongens Argelist. Alot of people will have to fuck off and go elsewhere to get what they are looking for, none of that fancy new age shit, just guts, gore and anger, plowing through your moist ears.

Rating: 7 out of 10

Review by George on March 19, 2020.

Wonder, to me, is the single most powerful emotion a human can experience. The solitude of gazing into an endless sea of stars during a cold night is incomparable to anything else - it's a grand feeling of insignificance I never thought possible to even be captured in an artistic work, much less reproduced by one. I was proven wrong last year when I was first exposed to the Swedish band Atoma's 2012 debut. Skylight effortlessly drifts between the spheres of ambient rock and post-metal, carrying the listener far beyond our lonely planet and into the astral ocean.

Saying that the whole album evokes the grandeur of space is, however, quite misleading. The first three tracks still have majestic moments, but their core focus is death. It takes you to a chaotic scene, a barren, ravaged world where bombs rain from the sky and give rise to monolithic mushroom-clouds. All-consuming, sweeping destruction is given form by low death growls in Skylight's verses while the otherworldly, soaring choruses give a sense of the enormous scale of it all. This is everywhere. It tears the sky in half, it rends the earth below, and there's no escape.

The transition point between the earthbound and celestial sides of the album comes in track 4, 'Highway', with an incredibly executed classic post-rock crescendo. The song begins in a floating, ethereal state, with wandering basslines and atmospheric drums evoking an inspiring aimlessness, the same stargazing-induced wonder as I mentioned in the introduction. Then comes the blastoff, a combination of climactic guitar melodies and a powerful, commanding vocal delivery that brings Skylight to its emotional pinnacle before the spacier, calmer side of it begins.

And speaking of the vocals, 'Highway' is just of their exceptional use throughout the album. Nowadays I usually sigh when I see a non-instrumental post- album, since it's so rare for proper singing (as opposed to spoken word or samples) to appeal to me in the genre, but Atoma throw that particular expectation out the window. Ehsan's grim, fatalistic performance carries the foreboding 'Hole in the Sky' all on its own, sharply contrasting the guitar-driven nature of most of this album (and genre) while his elegant, vulnerable singing on 'Rainmen' combines with the ambient guitar melodies and ethereal keyboards to leave a paragon of melancholy in its wake.

The components of Skylight are always coming together to form a composite whole, but the band constantly varies which is taking center stage. Many of the more overtly post-rock tracks such as 'Resonance' are fully guitar-driven, while the peaceful yet melancholic 'Solaris' sees the synths take over for a few minutes to allow you to float far away from Earth. Distant radio communications remind of the beginning of the album and of the destruction going on down there, but this time it's from a distant perspective. It's a sorrowful and reflective yet incredibly serene piece of music and one of the more overt moments of introspection on the album. While the first three tracks plunge you into the midst of the Earth's destruction and ambient masterpieces such as 'Saturn & I' fly you to the stars, 'Solaris' really just lets you stop and think. You're safe up here, far from the dying husk of a world below. But what have you left behind?

It's this kind of inclusion that makes Skylight so special. A truly amazing album has to be an experience, not just a collection of songs, and Atoma provide a golden standard for that concept. While there's no set-in-stone story, the emotions you feel while listening range from terror to wonder to the aforementioned introspection and leave more than enough room to fill in the blanks yourself. It's a spiritual journey through the stars with the exact details left up to the imagination and the emotional potency of the music is nothing short of perfection.

The only complaint I can level at Skylight is really just more praise for the album and based solely off my own experience with it - it's so unique and otherworldly that no matter how hard I try I'm never able to find anything else like it, post-rock or metal. It leaves me hungering for a certain sound, an atmosphere that to my knowledge doesn't actually exist anywhere else. My last hope is the band's follow-up Nova, which was briefly on the horizon earlier this year but has been postponed, leaving me once again patiently awaiting more news about the future of this one-of-a-kind, visionary project.

To conclude, Atoma have crafted one of the most unique, most ambitious and most well-executed albums of all time. Skylight was love at first listen and in the year since then my affection for it has only grown ever stronger with each spin. As it stands today, there's only one score I can possibly give such a masterwork.

Rating: 10 out of 10

Review by Alex on January 16, 2020.

I feel Void Rot was given a cold shoulder, unfairly overlooked because of a saturated music scene. Had they been given the same coverage the likes of Spectral Voice or Krypts or even some meaningful spotlight, their debut EP, Consumed by Oblivion would have been the words on the tongues of many at the time of its release. I happened to stumble across them on The Metal Archives just by the thin chance of spotting the band name in the updates section and like all inquisitive metal adventurers I clicked. It'd be fair to say Void Rot don't have as many releases as Krypts nor Spectral Voice plus they arrived rather late to the scene, which could also be attributed to why there had not been much mention of the band. In addition, at the time of the EP's release and even beforehand, many had already grown accustomed to or even weary of the whole death/doom resurgence.

Usually I'm all for keeping things at a limit in favor of quality preservation as far as what enters my musical vault thus bringing me to the point of where and why Void Rot should share space within the same room more notable acts. Not to be mistaken, this is by no means a copycat band bent on riding the tidal success of this new wave of death/doom metal, in fact though carrying some elements of recognized bands of the genre in addition to those of Abstracter or even Cruciamentum, their methodology is more aching to that of a melodic one. Their musical palette is conservative from some perspectives; however, if you listen beneath the overshadowing hm2 pedal distortion you would begin to notice the lengths at which Void Rot goes to stitch together a sound and feeling that is somewhat independent and could manage well on its own.

'Ancient Seed' shows us how fluid they can write a song of trance-like effect whilst title track, 'Consumed by Oblivion' demonstrates the bands capability to drag the listener in and out of that state of mind with sudden bursts of guitar patterns adjacent yet still intrinsic to the general fabric and texture of Void Rot's blueprint. The d-beat drumming and vocal strength of the Ep empowers the daze these 3 sessions evoke, therefore causing the music to truly shine as a jewel of cohesion. A split with Atavisma is scheduled to be put-out sometime in February of 2020 through Everlasting Spew Records, hence it should be interesting to see how it is received and how Void Rot has progressed as a band since this EP. Let’s hope their effort is not 'Consumed by Oblivion' once again.

Rating: 7.8 out of 10

Review by Alex on January 16, 2020.

I feel Void Rot was given a cold shoulder, unfairly overlooked because of a saturated music scene. Had they been given the same coverage the likes of Spectral Voice or Krypts or even some meaningful spotlight, their debut EP, Consumed by Oblivion would have been the words on the tongues of many at the time of its release. I happened to stumble across them on The Metal Archives just by the thin chance of spotting the band name in the updates section and like all inquisitive metal adventurers I clicked. It'd be fair to say Void Rot don't have as many releases as Krypts nor Spectral Voice plus they arrived rather late to the scene, which could also be attributed to why there had not been much mention of the band. In addition, at the time of the EP's release and even beforehand, many had already grown accustomed to or even weary of the whole death/doom resurgence.

Usually I'm all for keeping things at a limit in favor of quality preservation as far as what enters my musical vault thus bringing me to the point of where and why Void Rot should share space within the same room more notable acts. Not to be mistaken, this is by no means a copycat band bent on riding the tidal success of this new wave of death/doom metal, in fact though carrying some elements of recognized bands of the genre in addition to those of Abstracter or even Cruciamentum, their methodology is more aching to that of a melodic one. Their musical palette is conservative from some perspectives; however, if you listen beneath the overshadowing hm2 pedal distortion you would begin to notice the lengths at which Void Rot goes to stitch together a sound and feeling that is somewhat independent and could manage well on its own.

'Ancient Seed' shows us how fluid they can write a song of trance-like effect whilst title track, 'Consumed by Oblivion' demonstrates the bands capability to drag the listener in and out of that state of mind with sudden bursts of guitar patterns adjacent yet still intrinsic to the general fabric and texture of Void Rot's blueprint. The d-beat drumming and vocal strength of the Ep empowers the daze these 3 sessions evoke, therefore causing the music to truly shine as a jewel of cohesion. A split with Atavisma is scheduled to be put-out sometime in February of 2020 through Everlasting Spew Records, hence it should be interesting to see how it is received and how Void Rot has progressed as a band since this EP. Let’s hope their effort is not 'Consumed by Oblivion' once again.

Rating: 7.8 out of 10