Review by Felix on November 8, 2022.

Does it make any sense to deny the obvious? To say "it's not what it looks like?" when you are caught having sex with someone else by your own partner? I think it's better to tell the full truth right away. That's why I'm admitting it right now, at the beginning of this review: the more I know from Mavorim, the more I'm on the way to becoming a fanboy.

The band’s contribution to this split is excellent. I agree that the intro is not very relevant, but the three regular songs impress with their close-to-perfection approach. No, Mavorim do not show the harshest black metal approach and their guitars avoid any hint of iciness. So climate change has at least partially reached black metal. But their compositions inspire with a flawless flow. Apart from the one or other acoustic break, the driving character of the pieces leaves nothing to be desired - and of course the breaks are also quite skilfully set. In addition, few but highly efficient riffs unfold. The one of 'All Meine Seelen' immediately takes the listener on an overwhelming journey after the atmospheric intro. The mighty force of such pieces can only be broken by those who are able to stop a moving train by sheer force of will, but I honestly don't know many people with that ability.

Yes, there are some moody keyboards to find here. They send discreet greetings from someone far away, he calls himself Rob Darken. Nevertheless the guitars and the throaty (and in rare moments clean) voice shape a sound which has not much in common with that of Graveland – just to avoid misunderstandings. Along the way, Mavorim show how to build a song perfectly. From the first notes of the warm, soulful guitar to the highly intense double bass whipped rhythms before the first verse, 'Ein Fluch Ward Uns Geschenkt' ascends in an ingenious way (and its metaphorical lyrics are also great). I don't know in which book with seven seals you can read this, but Mavorim have a phenomenal feeling for melodies and for how much space you have to give them. Their harmonies reflect aggression, melancholy, despair and triumph. And it certainly seems unimaginative when I string together one praise after another, but the coherence of the individual pieces also makes me dream of the black metal paradise. So we get three fantastically designed songs, competently produced (without dirt, but always with an uncomfortable undertone) and masterly executed. From my point of view, 'Ein Fluch Ward Uns Geschenkt' marks the best part of this triumvirate, but 'Tod Und Teufel' and 'All Meine Seelen' also hit the bull’s eye. So it’s 90% for Mavorim who show some lazy guys in the global scene that it is possible to release high quality music every year. (Lord Ahriman, Demonaz, do you sleep well?)

Ad Mortem? Oh, that's right, they're still around. And how! They are closer to the typical style of the subgenre. As soon as the intro ends, their guitars embody brutality, the machine-like drums praise Lucifer and the performance of the lead vocalist indicates that his circle of friends is rather small. The vile melodies are not completely on the Mavorim level, but still (very) good. The same applies for the mix. It is less differentiated, the single instruments are not quite cleanly defined, but I write about black metal and not about the lullaby at the annual overnight party in the kindergarten. Nose closed when picking up your child the next morning!

Ad Mortem love to take a bath in extremely murderous sections. For example, “Schwarzes Blut (Excitium I)” has some mega-intensive parts. No doubt, if you play this song in Eastern Europe in front of one of these numerous, larger-than-life monuments to communist “martyrs”, they crumble to dust in minutes. But I guess this action would bring you directly to the next dungeon – and this leads me directly to the short yet homicidal “Kerker” (= dungeon), another brutal, straight and prisoners-hating eruption. Forgive me, but once again, I do not identify any filler here. Entirely the opposite. While I take the precaution of writing Ad Mortem's first long-playing record, not yet published, on my shopping list, the horde from Saxony skilfully rushes through the back areas of their self-created hell. A little Grabak, a little Vargsang, why not? The calm outro provides enough room to rest. 80% for Ad Mortem, who turn out to be a worthy partner of Mavorim – and this says a lot.

To sum up, this split shows two different styles of black metal and this is a good thing. Mavorim and Ad Mortem are crossing the blades and the listener is the winner. Two very similar bands do not need to join forces in order to release a split that leaves a more homogeneous overall impression than a typical Graveland or Bolt Thrower album. Given this double strike, German black metal patriots can be proud of the Teutonic scene and now I leave. I have to listen to Iudicium Ultimum again, naturally in total darkness to avoid any form of distraction.

Rating: 8.5 out of 10

Review by Jeger on July 15, 2024.

Nokturnal Mortum - the controversies surrounding this group are so thick they’re almost comical. You’re NSBM then your Pagan BM and then back to NSBM, and then you sever ties with all political factions and return to Pagan BM only to continue to play far right concerts. Hmm, it is what it is I guess and not like I give a shit, but one fact remains starkly clear: this is a damn good black metal band - influential to just about everyone despite their many hiccups - honor, heritage and of course some olde fashioned Devil worship to kick the tires and light the fires. Nokturnal Mortum boast a rather typical black metal discography in that you’ll find about a thousand obscure recordings amidst a handful of LPs and one of which is their debut, ‘97’s celebrated “Goat Horns”, released via Morbid Noizz Productions.

This isn’t Old Man’s Child here. It’s symphonic but in the most earthy way imaginable if that makes sense. Well within the scope of what’s considered to be true black metal yet possessing of all those elegancies and epicalities that typically constitute the symphonic black metal experience. And is that a bayan I hear? Perhaps some kind of harpsichord... Anyway, Nokturnal Mortum’s music is steeped in Ukrainian tradition and that of course is evident throughout the entirety of “Goat Horns”. Olde world stuff like the intro, “Black Moon Overture” - classically inspired and grande yet folkish and oozing that countryside charm. There’s so much to appreciate when it comes to these types of records. They provide a genuine cultural experience; one that you can walk away from feeling enlightened and quite possibly in wonder as to the roots of your own heritage. Isn’t that the beauty of black metal? Not to mention the brilliant music.

Not even going to pretend to know what half these instruments are. We got flutes, bongos and accordions? It’s all so organic and I appreciate how much the bass actually drives this whole experience forward. Like a separate entity yet vital to the functionality of the entire composition. “Veles’ Scrolls” - scaling the heights of majesty - the keyboards having their way as you’re propelled helplessly into this dreamlike realm where earthen soil and divinity meet.

I hate symphonic black metal. True story, but this is magic and just a prime example of why black metal truly is the finest dark art. “Kolyada” is the album’s featured heritage piece. Danceable rhythms, all those aforementioned unconventional black metal instruments converging into a proud cacophony of pre-battle fanfare and some olde timey story being told. Let the medovukha flow and let the woman danse the night! What a remarkable track. What a remarkable journey! Superlative black metal only the foundation to this immersive sonic structure that stands constructed with so many vital components. No bullshit, only what’s enriching to what’s musically proper and no compromise. Don’t care what these dudes’ ideological leanings are, because black metal, not just symphonic black metal, just doesn’t get better than this.

The Ukrainian scene as a whole from Bergrizen to Roman Saenko and Nokturnal Mortum - one of the great yet oft-overlooked movements - tucked away within the European scene along with Hungary and Portugal as quiet champions of the genre. Are Nokturnal Mortum so good that no one actually cares about their follies? Pretty much, and “Goat Horns” is the cream of their discography. Let the accusations fly! Let the leftists get triggered and may all the fascism police shit themselves now, because herein lies a lesson in art and just how boundless it can be. Sheer beauty, admirable music created by people with disagreeable world views. However, “Goat Horns” is black metal for ANY enthusiast to enjoy. And if you don’t, you have no taste…

Rating: 10 out of 10

Review by Luka on June 8, 2001.

I admit I had my misgivings about a black metal band from the Ukraine. Mortum are really the first, and still, the only –Ukrainian - metal band I’ve ever even heard of. Let’s see what kinda evils have been lurking behind the Iron Curtain. Can the six boys from Nokturnal Mortum cut it? Hell Yeah!!!

I had no idea what to expect here, the lavish use of keyboards completely took me off guard as I was expecting something dark and primitive like Graveland (of Poland). Instead I got Dimmu Borgir’s lesser-known twin, and let me tell you these guys are every bit as good, especially as this mighty album is only their debut. The guys do all the sounds and atmosphere themselves, they need no studio effects since they’ve got two synth keyboard players, pouring in their symphonies and melodies like mortar to the standard construction of twin-guitars, twin bass (at times) and the drums.

Not single note is lost in the clear production. Each song Nokturnal Mortum execute comes to life and the music and atmosphere created is a textbook definition of black metal with keyboards, which got Cradle of Filth and Dimmu Borgir to the top of the genre’s food chain. I don’t know why so many people hate keyboards in black metal, or don’t consider it ‘black metal’ anymore. If it’s done right it can easily kick Emperor or Immortal’s ass, especially as Emperor may not have an official keyboard player but all their albums are swarming with studio sound effects. If you don’t wanna call it black metal then call it something else, it kicks ass and that’s the bottom line.

The songs here are complicated, progressive and long as hell (many are over 10 minutes). I particularly liked that they added a fair bit of Ukranian folk style music (most notably on "Kolyada") which really gives them a unique sound of their own and not just another generic Dimmu-metal sound. It’s now become a trend in underground metal, but these are the guys were doing it before, away from, and better than the rest. They know how to pick and find the best riffs and melodies and fuse them together to form these godly epics. "Kuyaviya" and "Veles’ Scrolls" are the choice cuts here. It’s a little amateurish but what can you expect of a debut? I can see that a lot of work and dedication were put into this thing and it turned out damn fine.

Bottom Line: Excellent. If you’re any kind of black metal fan and like keyboards then this is an absolute must.

Rating: 8 out of 10