Seems like we’ve got some true Norwegian metal on our hands here with the second release by Djevel, made up of members of notable metal acts such as Nettlecarrier, Kvelertak, LJÅ, Enslaved, Gehenna and Koldbrann. Recorded this past winter in Caliban Studios, Besatt Av Maane Og Natt is a triumph of an album – it is as ambitious as it is nostalgic. Djevel are innately important because of this very pure sense of nostalgia, as they are effortlessly recreating and redeveloping the sound of 90s Nordic black metal. Between the overwhelming sense of atmosphere and raw, blistering musicianship, Djevel juggle notions of fierce Northern apocalypse while simultaneously expressing a relative “newness” to tropes that are often made into caricatures by hip metalheads.
So let’s dig into it from the beginning – you’ll notice a painful bleakness that permeates from the moment the music begins. In the same way bands such as Deafheaven evoke a sense of unwavering emotion, particularly hope and honesty, Djevel would rather channel a painful, surrounding fear and uncomfortable tenseness. The first track’s overall speed is something for ones’ ears to behold, as Djevel seamlessly craft together powerful, thunderous drumming in conjunction with technically pleasing and exemplary guitar work. More importantly, the track plays with the relationship between atmospheric longing and the capacity for animalistic hate, which is a truly interesting listen. The track “Marefar” is beautifully written; it is a track that evokes a real sense of expedition and the daunting obstacles of a Viking sojourn, constantly rocking and churning while thundering onward. At one moment, there is a silence which quickly gives way to an undeniably fun guitar solo. But more importantly, the song reveals that Djevel are not a band in which each instrument works to create a sense of wholeness to a song, but rather than it is the work of the guitar players that is defining the music. This isn’t a bad thing at all, as it gives leeway to the drummer to play as fast as he wants while simultaneously letting each guitar player control the emotional turmoil that is being played.
Perhaps my favorite track, however, is the solemn instrumental “Blant Fjell Og Falne.” The song is majestic in its nature; oft winding and atmospheric yet reminiscent of a more natural, less violent approach in terms of theme. The guitar work here is really impressive as it leads into the more sinister track “Sternesluker.” While many would prefer to draw parallels between Djevel and early Darkthrone, I hope they do not and realize the truly natural approach that Djevel have involved themselves in, as exemplified in the final track “Saa Tok Alt Slutt.” The track is built on the backs of wavering melodies and guitar breaks that are reminiscent of a winter night in a Norwegian forest. While this was obviously the mood and tone in mind, it is surprising the way in which it is so aptly played. The song is a challenging listen as well, often taking the listener off guard by tossing in breaks and clean vocals. What we’re left with is an album that doesn’t signify another release, but a personal growth for a band that is reviving what they love. Without a doubt, I would recommend this album to anyone even slightly interested in natural, Norwegian black metal.
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