HULDER - Verbolgen

All photos by Liana Rakijian

Zum Abschluss des Albums gibt es noch Lagerfeuerromantik mit dem akustisch-volkstümlich anmutenden zweiten Bonustrack "Zonnesteen". Inklusive der beiden Bonustracks bringt es das 58:02 Minuten trudelnde "Verbolgen" auf insgesamt elf von HULDER produzierte Kompositionen, die von Ahti Kortelainen im Tico Tico Studio abgemischt wurden und ihr Mastering von Mika Jussila bei Finnvox erhielten. HULDER 3.0 ist ein Album geworden, dass mir auf der einen Seite richtig gut reingeht und sich auch prima zum Nebenbeihören eignet, von dem aber trotz solider Umsetzung auch nach etlichen Durchläufen nicht allzu viel Zwingendes hängen bleibt. 

(Janko)

English version:

- third full-length album by the folklore-inspired U.S. dark black metal band -

The third full-length album, “Verbolgen”, by the U.S. dark black metal duo HULDER from Washington, D.C.—founded in 2018—features dark, atmospheric, and folk-infused black metal. The tempos range from slow to fast, but HULDER always keep melodrama, passion, and atmosphere front and center. Following the over 2-minute intro “Drie Raven”, the cold and morbid, plague-like rasp of Belgian-born singer, guitarist, and keyboardist Hulder can be heard for the first time on the slightly melancholic “The Crowning”. Her husband Necreon, listed for the first time as a full-fledged member of HULDER, handles the four-string bass and the very subtly employed background vocals. The album continues with “Thy Binding Oath”, which is downright sluggish in its basic structure, followed in contrast by the eponymous, fast-paced “Verbolgen”, with its sludgy middle section. The mid-tempo track “…And We Shall Sing”, on the other hand, comes across as downright groovy and dynamic. Next up is “In Blood and in Earth”, a composition with a slightly sublime character that’s really amped up—especially in the second half—by HULDER’s black metal screams. HULDER also shot a video for this track, which you can check out below. After that, the oppressive and drifting “Den Nacht Zijn Lied” takes center stage. In addition to lyrics in English, Flemish, and Proto-Germanic, HULDER also incorporate various instruments such as the hurdy-gurdy played by session musician Keld (MAJESTIES, OBSEQUIAE), double-drum parts by Vapula (HEART OF THE SERPENT) and Vrolok (AVAOT, ex-AETERNUS, ex-GORGOROTH), the Irish flute (transverse flute) played by Ianuaria, and other percussion instruments.

This is followed by “View From Nemeton”, the fastest song on the album, which has also earned its own tribute in the form of a music video. The track has a haunting, ghostly quality to it and is a blast-beat monster characterized by manic frenzy, which briefly drifts into a groovy dynamic in the middle section. This is followed by the sluggish, almost lethargic instrumental “The Glow of Dawn”, which gradually expands into a ravenous guitar-percussion composition. The menacing, even alarming bonus track “A Beacon From Darkened Skies” is, in my opinion, the weakest song on the album, although it certainly has its moments. The album concludes with some campfire romance in the form of the second bonus track, “Zonnesteen”, which has an acoustic, folk-like feel. Including the two bonus tracks, the 58:02-minute “Verbolgen” comprises a total of eleven compositions produced by HULDER, mixed by Ahti Kortelainen at Tico Tico Studio, and mastered by Mika Jussila at Finnvox. HULDER 3.0 has turned out to be an album that, on the one hand, really grows on me and is also great for listening to in the background, but—despite its solid execution—doesn’t leave much that really sticks with me even after several listens.

(Janko)