Review by Fernando on June 23, 2019.

Svartidauði are the premier act of Icelandic black metal and for good reason, Flesh Cathedral is widely regarded as a modern masterpiece, the high standard for contemporary black metal and the album that almost singlehandedly put the Icelandic scene in the spotlight of extreme metal. After 6 years they return with their second full length album Revelations of the Red Sword after a string of excellent EPs and live shows.

The first thing to note about Revelations of the Red Sword is how it’s both an evolution of Flesh Cathedral but also keeping true to what made that album so good and refreshing. Controlled chaos is the best way to describe this album. At six tracks ranging from 5 to 10 minutes, the band has scale down from the opulent and overwhelming epics of the previous album to straight to the jugular songs as proven by their promo singles, creating an album that’s all killer and no filler; every song is an essential part of the album and not a single second is wasted. 

The guitars and bass create the perfect wall of sound that’s punctuated by the blistering drums and the sinister vocals by frontman and bass player Sturla Viðar who is in my opinion the MVP of this album. His bass playing is much more layered than before, instead of the crushing and overpowering sound he displayed in Flesh Cathedral he now takes the lead in maintaining the songs’ ebb and flow, being much more controlled but not less savage. The intense and thundering bass riffs are still here but the majority of the focus is now handled by the guitar work of Þórir who takes center stage in the main riffs, tremolo picking and as previously mentioned the wall of sound that only Svartidauði can do; a noisy, violent and relentless dirge of pure chaos which are then perfectly complemented by the drumming by Magnús who keeps all the songs together with a drum work that’s equal parts progressive and primitive displaying both fast blast beats and droning beats, making full use of the full kit and the double bass.

The song that perfectly encapsulates the sound and atmosphere of this album is “The Howling Cynocephali” which I also think it’s the best track of the album. All the instruments take center stage here, Svartidauði in this song and the album as a whole create a cacophonous symphony of pure bedlam displaying the true spirit of black metal as well as expanding and evolving on almost every aspect from their previous efforts, but above all it makes Svartidauði unique which is becoming harder and harder in the ever expanding world of extreme metal. This album is proof that Svartidauði deserve all the accolades they’ve received and I’m looking forward to what they do next.

Best tracks: "The Howling Cynocephalo", "Sol Ascending", "Aureum Lux"

Rating: 10 out of 10

Review by Felix on May 3, 2025.

Once I read a book about a guy who was travelling through England, seeking the "old England". He did not really know what he was seeking for, but he knew what he wanted to leave behind: modernity in all its vociferous, degenerated and avaricious facets. Somehow I found this a charming idea, because I also have some nostalgic visions from time to time. I liked the analogue, less overheated Germany back in my youth and if it would be possible, a trip back in time would be great every now and then. It looks like I am not the only one with such thoughts. The Great Sea, a new duo from my homeland, even goes many steps further: they want to revitalize "the origin of mankind in its most primordial way, with the burden of aeons on our back. With the feeling of what once was and a touch of what should never be forgotten…" That's not the vision of tentative, risk-averse cowards. But The Great Sea seem to have the ability to do justice to their own ambitious goal. The opener "The Water Remains" reflects a very mature, never boring, multi-faceted song with an enormous depth, a more than robust heaviness and an impressive form of raw sentimentality. The stylish artwork and the band pic made me curious, but this opening even increases my expectations.

Noble Art Of Desolation does not disappoint in any way. The album is filled to the brim with strong feelings, but the emotional approach is almost never at the expense of a fundamental heaviness. Drama and depth, melancholy and melody reflect just one side of the band. The other one, which is characterised by violence and vehemence, does not fall by the wayside. One can discuss about the question whether these two facets are brought into a good balance during the entire album, but that's a matter of personal taste. From my point of view, the occasional clear singing is more of a problem, but definitely not a big one. On the other hand, it is amazing to experience that The Great Sea are definitely able to create a truly dignified yet archaic aura in their songs. With the exception of the vapid yet tolerable intermezzo "Fading", the entire material opens the windows to a view of untouched, untameable, rough and overwhelming nature. It is not crucial whether you check "Eden Unfolded", "The Maze" or "Upright In Nothing", the duo delivers acoustic pictures (does this make sense? I hope so!). In their best moments, they are almost breathtaking – but they are always fascinating.

No doubt, this is a promising debut without any serious mistakes. Maybe the production is one iota too polished for some black metal fans, but I disagree. Of course, the genre has to be harsh and ugly in its purest form. Nevertheless, bands like Winterfylleth have taught the scene that a small dose of romance does not lead to an automatic conversion to Christianity in its strictest form. And one thing is for sure, the album does not lack spirituality. This at the latest speaks for a thoroughbred black metal output. Summing up, perhaps it is true that my global metal radar does not work very well in these days, but with the latest albums by Gráb, Urfeind and The Great Sea, my home country is ahead of the game when it comes to contemporary black metal. All these bands have found a way to send musical and emotional messages to my brain and my heart at the same time. I guess this is an unmistakable sign for outstanding music… and now I am going out, seeking the old Germany, even though I am sure that I will be not be successful.

Rating: 8.5 out of 10

Review by Felix on May 3, 2025.

Once I read a book about a guy who was travelling through England, seeking the "old England". He did not really know what he was seeking for, but he knew what he wanted to leave behind: modernity in all its vociferous, degenerated and avaricious facets. Somehow I found this a charming idea, because I also have some nostalgic visions from time to time. I liked the analogue, less overheated Germany back in my youth and if it would be possible, a trip back in time would be great every now and then. It looks like I am not the only one with such thoughts. The Great Sea, a new duo from my homeland, even goes many steps further: they want to revitalize "the origin of mankind in its most primordial way, with the burden of aeons on our back. With the feeling of what once was and a touch of what should never be forgotten…" That's not the vision of tentative, risk-averse cowards. But The Great Sea seem to have the ability to do justice to their own ambitious goal. The opener "The Water Remains" reflects a very mature, never boring, multi-faceted song with an enormous depth, a more than robust heaviness and an impressive form of raw sentimentality. The stylish artwork and the band pic made me curious, but this opening even increases my expectations.

Noble Art Of Desolation does not disappoint in any way. The album is filled to the brim with strong feelings, but the emotional approach is almost never at the expense of a fundamental heaviness. Drama and depth, melancholy and melody reflect just one side of the band. The other one, which is characterised by violence and vehemence, does not fall by the wayside. One can discuss about the question whether these two facets are brought into a good balance during the entire album, but that's a matter of personal taste. From my point of view, the occasional clear singing is more of a problem, but definitely not a big one. On the other hand, it is amazing to experience that The Great Sea are definitely able to create a truly dignified yet archaic aura in their songs. With the exception of the vapid yet tolerable intermezzo "Fading", the entire material opens the windows to a view of untouched, untameable, rough and overwhelming nature. It is not crucial whether you check "Eden Unfolded", "The Maze" or "Upright In Nothing", the duo delivers acoustic pictures (does this make sense? I hope so!). In their best moments, they are almost breathtaking – but they are always fascinating.

No doubt, this is a promising debut without any serious mistakes. Maybe the production is one iota too polished for some black metal fans, but I disagree. Of course, the genre has to be harsh and ugly in its purest form. Nevertheless, bands like Winterfylleth have taught the scene that a small dose of romance does not lead to an automatic conversion to Christianity in its strictest form. And one thing is for sure, the album does not lack spirituality. This at the latest speaks for a thoroughbred black metal output. Summing up, perhaps it is true that my global metal radar does not work very well in these days, but with the latest albums by Gráb, Urfeind and The Great Sea, my home country is ahead of the game when it comes to contemporary black metal. All these bands have found a way to send musical and emotional messages to my brain and my heart at the same time. I guess this is an unmistakable sign for outstanding music… and now I am going out, seeking the old Germany, even though I am sure that I will be not be successful.

Rating: 8.5 out of 10