Review by Felix on December 26, 2021.

Gehenna's first publication was one of those outputs that defined the seal of approval "Norwegian black metal". This was remarkable, because the band did not focus on the usual stylistic elements. Gehenna had not the intention to set up a new speed record. Maximum heaviness was also not the goal. The group rather emphasized the aesthetic aspects of the Nordic metal revolution. The black and white artwork expressed the mood of the songs in a highly successful manner (please note that it did not show an icecold winter landscape). While offering a ghostly atmosphere of loneliness, the monotonous music seized you inevitably. This happened because the said monotony seemed not to be an expression of creative helplessness but a carefully used stylistic device. Furthermore, the minimalistic and easily understandable melodies knew how to please, albeit they were mostly formed by the keyboards. What is more, Sarcana, who played this instrument, was even allowed to perform solos. Is this still (black) metal? Well, if I am not mistaken, this genre was invented to break conventions.

The dismal aura was only interrupted by the fairly harsh third piece 'Angelwings And Ravenclaws' which was more lively than the other songs. Despite its more powerful composition, it appeared as a sunbeam that suddenly broke through the dense clouds. But it was not able to warm the earth sustainably. The remaining pieces followed the joyless pattern of the first two songs.

The invoking voice matched with the dark ambience that was created by the instrumental section. Life seemed to be a long and silent river. The reposefully flowing songs did not offer tempo changes and the permanent repetition of the melodies led to a special sort of catchiness. Everything was kept comprehensible and complexity was definitely not the name of the game. The drums, for example, had only one task, namely to keep time. I am fairly sure that this was really their preferred compositional approach. But maybe they also just made a virtue out of necessity due to their not yet fully established technical skills. In any case, the result spoke for itself. As you know, simplicity is not as easy as it seems. Therefore, it is all the more noteworthy that all songs were able to convince. In terms of quality, the differences between the tracks were minimal. Without being hypnotizing, the tunes had a strong effect on me.

The production walked the thin line between harshness and atmosphere. Fortunately, everything went well. The keyboards did not sound too sweetish, the guitars did not kill the mood. Everything was more or less well balanced so that the mix caused no reasons for concern. This applied especially to the fact that First Spell was the debut of these somewhat eccentric trolls. From our present point of view, maybe we find it difficult to describe this relatively soft music as black metal, but it's a nice document of the Norwegian spirit at the time of its release.

Rating: 8 out of 10

Review by Mladen on March 5, 2021.

It's easy for normal people. Play them ten seconds of whatever and they will instantly know whether they like it or not. Ask them to recommend something to you, they will play you ten seconds of whatever else, and expect you to agree. But when you ask "why" they will struggle to give you an intelligent answer. Or, any answer, especially if you expect one related to music itself. It's probably the same if you ask them why they hate something. They will know within ten seconds.

On the other side, what we have here is 65 minutes of something, and after those 65 minutes even a seasoned reviewer will still not know, but for a radically different reason. Because it asks questions. And makes you wonder. So. 65 minutes of slow, scorching drone guitar, random screams and equally slow drums - if you can call them that. They are definitely drums, but more as if someone randomly hits parts of the drum kit, possibly with only one drum stick. It turns out that they were programmed, but you'd never neither guess nor care to. There's not much free time between the hits for constructive thinking because when they hit, they hurt. And it's somewhere between the Chinese water torture and a "hell yeah".

Now the questions. Is this planned, or is it a nihilistic stream of consciousness? The subconscious says that it is planned, but the reason says that any planned parts are few and far in-between. Oxidation could be a work of people who, first, learned how to master things, only to, knowingly and systematically, de-construct them later. Or it could be a couple of retards on a lucky day, doing what they are comfortable with. The sound is clean enough to be professional, yet dirty enough to be a work of a bedroom amateur. Who knows.

The guitar is, mostly, retarded - if you thought bedroom DSBM guitars are retarded, you haven't heard Arkhitekt. Yet, after a while, you don't care. It's just some chords, and it's more about their presence contributing to the atmosphere slowly sucking you in and making you lose hope than about playing actual music. Occasionally there will be a lick or a repeating pattern - not a good one, mind you - but perceivable enough to make you realize the guy actually made an effort. Oh, sweet nothing.

There is an occasional keyboard intro or outro, and the Striborg fan in you will rejoice. The same guy also does the vocals, and the screams are probably the one ingredient that makes all this work. Or, maybe it's the pathetic excuse for drums that still makes you sit and listen to each and every beat. Because you don't really need more than that, whatever it is. Progressive retardation or constructive degradation.

So, there it is. A reviewer both knows and doesn't know. But, it's an hour later. Not ten seconds later.

Rating: 8.5 out of 10