Label: Relapse Records
Band: Myrkur
Origin: Denmark
Myrkur may be an artist that caused more fuss in the black metal world than even Deafheaven in the past year. Her debut ‘M’ was a darn good record though and seeing her perform live was very special indeed. The beef with Myrkur is a bit vague to really pin down. Is it the fact that her music focusses on a specific aspect of black metal, the more ritualistic, folklore atmosphere? Is it that Amelie Bruun did pop music under her own name and with Ex Cops? Or maybe that she did hiphop with R.A. The Rugged Man?
Or is it the fact that she’s really quite attractive and has a fashion sense, which she displays in videos online? There’s many reasons to revile Amalie Bruun if your a stuck up black metal purist. If you manage to look pas that, you might be able to see that Amalie Bruun is talented, creative and daring to step out and do a black metal album. Having seen a show, I can also inform you that it is a great improvement to have women seeing the bands with you and not just the smell of basement, earth (I think) and sweat stains surrounding you. Get over yourself, please, and look at your black metal heroes who are now making wine, industrial music, classical stuff or weird racist role playing games.
If there’s one objection I’ve had agains the music of Myrkur, is that i’s so ridiculously dense. There’s so much happening, that it confuses me as a listener. No, it’s not like a crazy jazz record, but ‘Mausoleum’ offers what I would have liked from ‘M’. A dressed down, more pure performance of these highly atmospheric songs. The Danish singer can really demonstrate her skills here.
While retaining the essential atmosphere, the music becomes a sort of chamber music, with only guitar and piano supporting Bruun’s vocals. The ethereal, nymph like chants of Bruun evoke mythological images and dreamy nature landscapes. I had to think back to a book I once read, which involved a man ending up in a Mausoleum of his race, where his people where sleeping forever. In this tranquil silent place, he walked around for hours. This soundtrack would be the right one for that story.
The record was recorded live in Emanuel Vigeland Mausoleum, which through its natural reverb greatly supports that wavery sound of the record. The choir also helps to create that angelic aspect. Though I could go through every song, the album listens as a whole. If any deserves special attention though, it’s the Bathory cover ‘Song To Hall Up High’, which is majestic. Truth be told, I love the work of Amalie Bruun for what it is. If that is not worthy of the black metal label, than so be it.
what kind of backhanded compliment shit is this. ‘everyone hates her, i dont like her blablabla but her album is good!’ why even fucking mention all those bad things first, who cares. makes your review look completely not credible and false
I didn’t say that I didn’t like her anywhere actually. The live performance I was present at was just not as strong as this album is and I thought there was just too much happening on the album. This brings it down to the essence and it actually helps me appreciate the album more.
But fair point, it would make more sense in line with the other things I’ve written about it that I should perhaps linked to. My point was just that any other stuff an artist does is irrelevant in how you appreciate the art itself, but I’m sorry to hear that this is unclear from what I wrote.
Thanks for your feedback, I appreciate it.