Review by Alex on March 22, 2020.

Of a big footed, grey bearded, angry yet intelligible inhabitant of some realm, Dødskvad with their debut demo Krønike I imagines a mannerly ascended fantasy driven style of death metal, heavy metal and dungeon-synth. Using only 3 songs with instrumentation reminiscent of early Bolt Thrower, Faustcoven and some other obscure metal bands I can't quite recall in addition to the familiar faces listed in the promo text, the result is one to behold in this modern age. I tell you this, it's not every day Norway delivers on something this enticing as far as extreme metal goes, but here we have a glimmering exception on Krønike I, that after one short listen, will convince and gain the attention of even the most critical within metal. Despite the bands listed as influences, Krønike I is in essence tied to none thus assuring the security of the album's and more-so Dødskvad identity.

Independently released in February digitally, the debut offering from the 3-piece collective within Dødskvad attracted Caligari Records who have set a cassette version to grace the soil of underground obscurity April 24th, 2020. Honestly, it's not a surprise something of this sort has garnered the attention and support of Caligari Records, who by the way have been slowly and carefully building a temple of jeweled obscurities and rarities since their inception. Hence, consider Dødskvad a noteworthy addition to the remarkable list of inhabitants on the label.

With only 3 short tracks, the band makes good use of their knowledge and musical skill to cook up a bubbling pot of honest synth-scarred death and heavy metal. Decorated with a flurry of fashionable guitar hooks and riffs, interesting drumming, and a vocal style somewhat reminiscent of Faustcoven, the overall feeling accompanying Krønike I is one of sincere effort to make something with lasting impact.

'Rike I Ruiner', 'Adelråte' and 'Pakt Med Dypet' give testimony of the inherently diverse and memorable compositions on Krønike I. Atop it, riding like a wig on some silver spoon societal majesty, a judgmental pointy-finger and shrugging off of peasant like dwellers is displayed through the synth additions on 'Adelråte'. Though still a death metal record, the attitude on Krønike I is telling of a rather classy and parliamentary one, thus taking the style of their music away from the (at times) common-place associations of the genre. A must own for the upstanding within the underground.

Rating: 8 out of 10

Review by Alex on March 22, 2020.

Of a big footed, grey bearded, angry yet intelligible inhabitant of some realm, Dødskvad with their debut demo Krønike I imagines a mannerly ascended fantasy driven style of death metal, heavy metal and dungeon-synth. Using only 3 songs with instrumentation reminiscent of early Bolt Thrower, Faustcoven and some other obscure metal bands I can't quite recall in addition to the familiar faces listed in the promo text, the result is one to behold in this modern age. I tell you this, it's not every day Norway delivers on something this enticing as far as extreme metal goes, but here we have a glimmering exception on Krønike I, that after one short listen, will convince and gain the attention of even the most critical within metal. Despite the bands listed as influences, Krønike I is in essence tied to none thus assuring the security of the album's and more-so Dødskvad identity.

Independently released in February digitally, the debut offering from the 3-piece collective within Dødskvad attracted Caligari Records who have set a cassette version to grace the soil of underground obscurity April 24th, 2020. Honestly, it's not a surprise something of this sort has garnered the attention and support of Caligari Records, who by the way have been slowly and carefully building a temple of jeweled obscurities and rarities since their inception. Hence, consider Dødskvad a noteworthy addition to the remarkable list of inhabitants on the label.

With only 3 short tracks, the band makes good use of their knowledge and musical skill to cook up a bubbling pot of honest synth-scarred death and heavy metal. Decorated with a flurry of fashionable guitar hooks and riffs, interesting drumming, and a vocal style somewhat reminiscent of Faustcoven, the overall feeling accompanying Krønike I is one of sincere effort to make something with lasting impact.

'Rike I Ruiner', 'Adelråte' and 'Pakt Med Dypet' give testimony of the inherently diverse and memorable compositions on Krønike I. Atop it, riding like a wig on some silver spoon societal majesty, a judgmental pointy-finger and shrugging off of peasant like dwellers is displayed through the synth additions on 'Adelråte'. Though still a death metal record, the attitude on Krønike I is telling of a rather classy and parliamentary one, thus taking the style of their music away from the (at times) common-place associations of the genre. A must own for the upstanding within the underground.

Rating: 8 out of 10

Review by Alex on March 22, 2020.

Of a big footed, grey bearded, angry yet intelligible inhabitant of some realm, Dødskvad with their debut demo Krønike I imagines a mannerly ascended fantasy driven style of death metal, heavy metal and dungeon-synth. Using only 3 songs with instrumentation reminiscent of early Bolt Thrower, Faustcoven and some other obscure metal bands I can't quite recall in addition to the familiar faces listed in the promo text, the result is one to behold in this modern age. I tell you this, it's not every day Norway delivers on something this enticing as far as extreme metal goes, but here we have a glimmering exception on Krønike I, that after one short listen, will convince and gain the attention of even the most critical within metal. Despite the bands listed as influences, Krønike I is in essence tied to none thus assuring the security of the album's and more-so Dødskvad identity.

Independently released in February digitally, the debut offering from the 3-piece collective within Dødskvad attracted Caligari Records who have set a cassette version to grace the soil of underground obscurity April 24th, 2020. Honestly, it's not a surprise something of this sort has garnered the attention and support of Caligari Records, who by the way have been slowly and carefully building a temple of jeweled obscurities and rarities since their inception. Hence, consider Dødskvad a noteworthy addition to the remarkable list of inhabitants on the label.

With only 3 short tracks, the band makes good use of their knowledge and musical skill to cook up a bubbling pot of honest synth-scarred death and heavy metal. Decorated with a flurry of fashionable guitar hooks and riffs, interesting drumming, and a vocal style somewhat reminiscent of Faustcoven, the overall feeling accompanying Krønike I is one of sincere effort to make something with lasting impact.

'Rike I Ruiner', 'Adelråte' and 'Pakt Med Dypet' give testimony of the inherently diverse and memorable compositions on Krønike I. Atop it, riding like a wig on some silver spoon societal majesty, a judgmental pointy-finger and shrugging off of peasant like dwellers is displayed through the synth additions on 'Adelråte'. Though still a death metal record, the attitude on Krønike I is telling of a rather classy and parliamentary one, thus taking the style of their music away from the (at times) common-place associations of the genre. A must own for the upstanding within the underground.

Rating: 8 out of 10

Review by Alex on March 22, 2020.

Of a big footed, grey bearded, angry yet intelligible inhabitant of some realm, Dødskvad with their debut demo Krønike I imagines a mannerly ascended fantasy driven style of death metal, heavy metal and dungeon-synth. Using only 3 songs with instrumentation reminiscent of early Bolt Thrower, Faustcoven and some other obscure metal bands I can't quite recall in addition to the familiar faces listed in the promo text, the result is one to behold in this modern age. I tell you this, it's not every day Norway delivers on something this enticing as far as extreme metal goes, but here we have a glimmering exception on Krønike I, that after one short listen, will convince and gain the attention of even the most critical within metal. Despite the bands listed as influences, Krønike I is in essence tied to none thus assuring the security of the album's and more-so Dødskvad identity.

Independently released in February digitally, the debut offering from the 3-piece collective within Dødskvad attracted Caligari Records who have set a cassette version to grace the soil of underground obscurity April 24th, 2020. Honestly, it's not a surprise something of this sort has garnered the attention and support of Caligari Records, who by the way have been slowly and carefully building a temple of jeweled obscurities and rarities since their inception. Hence, consider Dødskvad a noteworthy addition to the remarkable list of inhabitants on the label.

With only 3 short tracks, the band makes good use of their knowledge and musical skill to cook up a bubbling pot of honest synth-scarred death and heavy metal. Decorated with a flurry of fashionable guitar hooks and riffs, interesting drumming, and a vocal style somewhat reminiscent of Faustcoven, the overall feeling accompanying Krønike I is one of sincere effort to make something with lasting impact.

'Rike I Ruiner', 'Adelråte' and 'Pakt Med Dypet' give testimony of the inherently diverse and memorable compositions on Krønike I. Atop it, riding like a wig on some silver spoon societal majesty, a judgmental pointy-finger and shrugging off of peasant like dwellers is displayed through the synth additions on 'Adelråte'. Though still a death metal record, the attitude on Krønike I is telling of a rather classy and parliamentary one, thus taking the style of their music away from the (at times) common-place associations of the genre. A must own for the upstanding within the underground.

Rating: 8 out of 10

Review by Adam M on May 20, 2025.

This album has a more modern flair than older albums in the band’s discography. It has a grunge type of feel that is very addictive and different for the band. Singing is also memorable and adds to the experience. There is the feeling of bands like Alice in Chains as much as there is like Metallica. It is a rousing affair and also very memorable.

Guitars are crunchy and grunge-like and add to the experience. Singing is distinctive and one of a kind and adds to the experience. This is a very well-performed album instrumentally, but perhaps slightly simple sounding compared to others like Megadeth’s Rust in Peace.

This is not a perfect album, however, and can be faulted for its simplicity. It is not a display of virtuoso songcraft, but rather a more straightforward type of songwriting that is easy to digest and quite memorable. There could be more fireworks on display than there is, but it’s a nicely tuneful collection of songs. It is quite crunchy and has a nice modern flair to it.

All in all, this is a very strong album and one of the best by the band. It is not anything revolutionary, but in particular a good display of John Bush’s vocals talents and fits nicely into the band’s discography. Though it could be made more complex, it’s a very vibrant and memorable recording.

Rating: 7.5/10

Review by Felix on October 17, 2023.

It has already been said a lot of times, the early nineties brought a time of reorientation for the old thrash heroes. The new shit from Seattle made an impact, but was this really reason enough to deny the own roots? Anyway, the great names of the past were not fainting. Anthrax, for example, had a budget great enough to produce an excellent sound. Right from the beginning, “Potter’s Field” achieves a magnificent result in terms of depth, multidimensionality and raw precision. The “Sound of White Noise” makes fun, it’s so powerful yet smooth and very close to perfection.

And in terms of music, Anthrax also showed their teeth. John Bush’s natural voice is much more metal than that of Joey Belladonna. He gives the songs a very male and vigorous touch. He strikes every tone perfectly and enriches the material by his performance significantly. I don’t say that Belladonna is the worse singer, but I cannot imagine the here presented songs with his vocals. They are tailored to Bush’s voice and he makes the very best out of this situation. Naturally, you cannot turn shit into gold just by a good vocal performance. But don’t worry, sometimes the white noise is much better than its reputation.

Anthrax start with a powerful triple strike. The shredding of “Potter’s Field”, the smoothly flowing “Only” with its characteristic drum intro and the mega-catchy chorus and the somewhat inconspicuous but very well done “Room for One More” make fun. It’s no thrash, at least not in its pure form, but the muscular compositions are clearly based on a very stable fundament. Anthrax play an authentic form of metal. They do not whine to the mainstream for attention. Even “Black Lodge” doesn’t do this. Yes, it is a calm number with a certain Metallica-affinity, but it is free from schmaltz. Moreover, it holds emotional harmonies and is cleverly arranged. I don’t say that I am listening to a masterpiece when it comes to this semi-ballad, but it definitely does not annoy the audience with embarrassing details. And, of course, it sets the stage for the power riffs that open the next track “C11 H17 and the rest I have forgotten” (my old chemistry teacher isn’t surprised). It’s a decent track, but the following neckbreaker “Burst” comes much closer to the real thing. Especially its nervous lines at the beginning as well as its explosiveness are impressive.

Unfortunately, some tracks fall short of expectations “Packaged Rebellion” is acceptable, but it stands in the shadow of the opener or “Only”. “Hy Pro Glo” sees Bush doing the Ozzy (which is always a bad idea) and when it comes to “1000 Points of Hate”, I am still undecided: is it pretty cool or just noisy mediocrity? And yes, it is not just the closer (with a great, intense ending) that reveals their newly found weakness for zeitgeist inspired harmonies that made Alice in Chains famous. Either way, those of you who do not always look for the pure dogma, can lend an ear to the album. 30 years after its release, “Sound of White Noise” can be an interesting and good historic document. The spirit of the time could not significantly hurt the quality of the songs.

Rating: 7.4 out of 10

Review by Adam M on May 20, 2025.

This album has a more modern flair than older albums in the band’s discography. It has a grunge type of feel that is very addictive and different for the band. Singing is also memorable and adds to the experience. There is the feeling of bands like Alice in Chains as much as there is like Metallica. It is a rousing affair and also very memorable.

Guitars are crunchy and grunge-like and add to the experience. Singing is distinctive and one of a kind and adds to the experience. This is a very well-performed album instrumentally, but perhaps slightly simple sounding compared to others like Megadeth’s Rust in Peace.

This is not a perfect album, however, and can be faulted for its simplicity. It is not a display of virtuoso songcraft, but rather a more straightforward type of songwriting that is easy to digest and quite memorable. There could be more fireworks on display than there is, but it’s a nicely tuneful collection of songs. It is quite crunchy and has a nice modern flair to it.

All in all, this is a very strong album and one of the best by the band. It is not anything revolutionary, but in particular a good display of John Bush’s vocals talents and fits nicely into the band’s discography. Though it could be made more complex, it’s a very vibrant and memorable recording.

Rating: 7.5/10

Review by Felix on October 17, 2023.

It has already been said a lot of times, the early nineties brought a time of reorientation for the old thrash heroes. The new shit from Seattle made an impact, but was this really reason enough to deny the own roots? Anyway, the great names of the past were not fainting. Anthrax, for example, had a budget great enough to produce an excellent sound. Right from the beginning, “Potter’s Field” achieves a magnificent result in terms of depth, multidimensionality and raw precision. The “Sound of White Noise” makes fun, it’s so powerful yet smooth and very close to perfection.

And in terms of music, Anthrax also showed their teeth. John Bush’s natural voice is much more metal than that of Joey Belladonna. He gives the songs a very male and vigorous touch. He strikes every tone perfectly and enriches the material by his performance significantly. I don’t say that Belladonna is the worse singer, but I cannot imagine the here presented songs with his vocals. They are tailored to Bush’s voice and he makes the very best out of this situation. Naturally, you cannot turn shit into gold just by a good vocal performance. But don’t worry, sometimes the white noise is much better than its reputation.

Anthrax start with a powerful triple strike. The shredding of “Potter’s Field”, the smoothly flowing “Only” with its characteristic drum intro and the mega-catchy chorus and the somewhat inconspicuous but very well done “Room for One More” make fun. It’s no thrash, at least not in its pure form, but the muscular compositions are clearly based on a very stable fundament. Anthrax play an authentic form of metal. They do not whine to the mainstream for attention. Even “Black Lodge” doesn’t do this. Yes, it is a calm number with a certain Metallica-affinity, but it is free from schmaltz. Moreover, it holds emotional harmonies and is cleverly arranged. I don’t say that I am listening to a masterpiece when it comes to this semi-ballad, but it definitely does not annoy the audience with embarrassing details. And, of course, it sets the stage for the power riffs that open the next track “C11 H17 and the rest I have forgotten” (my old chemistry teacher isn’t surprised). It’s a decent track, but the following neckbreaker “Burst” comes much closer to the real thing. Especially its nervous lines at the beginning as well as its explosiveness are impressive.

Unfortunately, some tracks fall short of expectations “Packaged Rebellion” is acceptable, but it stands in the shadow of the opener or “Only”. “Hy Pro Glo” sees Bush doing the Ozzy (which is always a bad idea) and when it comes to “1000 Points of Hate”, I am still undecided: is it pretty cool or just noisy mediocrity? And yes, it is not just the closer (with a great, intense ending) that reveals their newly found weakness for zeitgeist inspired harmonies that made Alice in Chains famous. Either way, those of you who do not always look for the pure dogma, can lend an ear to the album. 30 years after its release, “Sound of White Noise” can be an interesting and good historic document. The spirit of the time could not significantly hurt the quality of the songs.

Rating: 7.4 out of 10