Album Review: Satyricon - Self Titled

Satyricon’s ninth self-titled album was quite devise at the time of release. On the one hand, the band’s departure from their usual songwriting style is a bold move that shows a willingness to experiment and try new things. On the other hand, the resulting album may not appeal to everyone, as it features simple song structures and subdued drumming that are uncharacteristic of the band’s previous work.

Listeners expecting the death metal blaster to break loose at any moment will be disappointed, as Frost’s drumming is deliberately restrained throughout much of the album. Singer Satyr has explained in an interview that this was intentional, and that the album was recorded using analog technologies in order to create an organic and warm listening experience. However, for many fans, this results in a monotonous vibe that makes the album a difficult listen to get through in one go.

Satyricon does have its strengths. The album’s raw medieval feel, particularly evident on tracks like the hypnotic Tro Og Kraft and the closing instrumental Natt, is noteworthy. The use of clean vocals on The Phoenix, courtesy of Sivert Høyem, adds variety. And on The Infinity of Space and Time, a sense of bleak hopelessness permeates all the way into the listener’s subconscious, a reminder that Satyricon hasn’t lost their cold-blooded ingenuity entirely.

Ultimately, Satyricon is an album that rewards repeated listens, as subtle dynamics begin to reveal themselves over time. However, many fans may not have the patience or attention span to stick with it for that long. The lack of contrast and dynamics make even the heaviest sections of the album seem dull, and it’s hard not to be distracted by the fact that this is the same band that released several pagan-infused death metal classics such as 1996’s Nemesis Divina. While the album may not meet fans’ expectations, it does showcase the band’s willingness to try new things and experiment with different sounds and approaches.

Verdict

Fans of Satyricon will find this self-titled release lacking intensity and dynamics. This could be especially true for those who have been following the band since their earlier works such as Nemesis Divina which is still considered a defining example of the brutal Norwegian black metal genre.