Shores of Sorrow

For some reason I have been prejudice towards Finnish metal for a long time. I don’t recall the origins of this prejudice, nor do I understand why it continues until this day. I suspect that once upon a time I discovered a terrible Finnish band and was somehow scared into never broaching the subject of Finnish metal again. Odd. After scouring through my collection of soul destroyers, I came across a number of Finnish bands that I’ve previously never listened to, or just paid little attention to so, I thought the best way to get over this prejudice would be to confront it in an open minded manner where previously this had not been the case. In my search for Finnish mastery, I came across a black metal outfit by the name of Inferi, whom are usually referred to as ‘melancholic black metal‘. Signed to the infamous record label, Northern Heritage, Inferi are a one man act which comprises of mostly elementary, but equally essential black metal aesthetics.

Formally known as Vulture, this Finnish act are reasonably well supported these days. The debut entitled ‘Shores Of Sorrow’ is typically dejected, disconsolate and mournful, as well as being an indication as to why Inferi have gained the positive reputation that they have in such a short space of time. Its in these traditional aspects that this second wave inspired act gain most of their credentials from. ‘Shores Of Sorrow’ isn’t the most experimental example of black metal, but it is an indication of what is right with the modern day scene despite the glaringly obvious Burzum influence. To some extent, Inferi remind me of, in terms of the production and layout of the guitars, fellow Finnish act Clandestine Blaze, whose most recent effort ‘Church Of Atrocity’, which was released in the same year, is by far a better record than their earlier releases. As well as this, as it has already been mentioned by a previous reviewer, this record seems to take influence from the legendary Burzum outing, ‘Filosofem’.

Without spending too much time discussing influences and similar structures, one must point out the similarity in vocal style, as well as bass, which is audible thanks to the top production. Whilst these influences may exist in an obvious manner, there are of course notable differences between Inferi and the aforementioned bands. I imagine that there will be those who suggest Inferi are a depressive black metal band and, in my opinion, I don’t think that suggestion is too far fetched. In fact, the origins of the style probably lie with bands like Burzum who’re evidently an influence on Inferi. If this is indeed a depressive black metal record, then ‘Shores Of Sorrow’ must be noted as one of the better slices out of the depressive black metal pie. Why? Well, there is a variation on this record which, when supported by the clean production, allows Inferi to perform to high standards which many of the acts in this faltering sub-genre do not.

‘Bedroom bands’ as they have become known are rife in the scene, but Inferi are not one of those, which instantaneously improves the opinion of the instrumentation, music and soundscapes provided by the bleak Finnish act. There are a few unnoticeable elements of ‘Shores Of Sorrow’ which really make this record stand out, but you have to follow closely to hear them in action. The omission of vocals for long periods at a time increases their impact whenever they are used, as well as heightening the overwhelming sense of emotion that is portrayed by the incredibly, yet simplistic instrumentation. The bass is given a greater chance to succeed because of the lessened distortion that comes with the guitar and vocal duet. As the previous reviewer suggests, the acoustic and electric guitar arpeggio song structure that Inferi inflict upon their listener is stylish and different to the norm.

There is an exquisite beauty in beholding this acoustic style play alongside the electric style, which is distorted and depressive. The soundscapes are further enhanced by the exclusion of elements. Throughout ’To The Once So Sad World’, the percussion and bass is excluded from proceedings in order to get the best out of the style which Inferi approached with open arms. Although, of course, there are moments when the rasping vocals (these depict pain and loss), which instantly remind me of Varg’s vocals work on epics like ’Filosofem’, and the heavy percussion (utilizes distinctive double bass and crashing cymbal work) which marches on through bloodstained soundscapes are used, the comparisons between the acoustic style, and the more traditional style of ordinarily used black metal aesthetics is sublime in its simplicity and stand out as the best elements of the work by Inferi.

This simplistic approach is splendiferous in its depiction of the lyrical themes which don’t come across as imperative as the instrumentation. Two songs, in particular, express a divine beauty in the sorrow that this record is aiming to portray to its audience, ‘Dance of Shadows’ and the enigmatic ‘Burned’, which has a long lasting effect on the listener with its abstract use of soundscapes and increased influence in terms of the bass, which generally populates a lot of the atmospherics. ‘Shores Of Sorrow’ is a class act, taking influences from the second wave and giving them a bit of style making this a modern day classic within its genre.

Black metal has two, in some way, opposite tendencies to interpret darkness. On the one hand it is the aggressive side, violence and evil against all. On the other hand, what I would call the “subjective” side, concentrated in the heart-rending feeling of death’s emptiness, loneliness and sorrow. Burzum is the champion of this second genre, usually call “melancholic black”. In 2006, Finland has given three new projects of this style: Inferi, Grand Nocturne and Blood Red Fog. The sound of these three bands can be defined as: slow and monotonous.


“Shores of Sorrow” is the more monotonous one and, I would say, the more depressive. It is four long, sad and slow songs with repetitive passages. The scant lyric presence is a lament screech scattered all the record long (“No paths leading to there/ No gates locked, only dreams”). The sound (very similar to Burzum’s Filosofem), although underground, is good mixed and generated the right atmosphere.


The first track is a 12 minutes long enveloping passage of monotonous acoustic and electric guitar arpeggio that sound during almost all the song without drums and bass guitar. The second track is the more depressive one; also include an acoustic arpeggio passage. The second half of the album gain some speed, appearing the treble tremolo, although, the variations are slow and monotonous, no representing a deviation in the cold and desolated record’s theme.


“Shores of Sorrow” is a simple and well-known concept: sadness. A well-done debut with a familiar sound (Burzum’s Filosofem) that must be appreciated. Any fan of Burzum or loneliness and uneasiness for life will enjoy watching the waves colliding with these shores of sorrow.

Northern Heritage has become famous for a heap of excellent Finnish BM releases, Clandestine Blaze, Baptism, Satanic Warmaster, Uncreation's Dawn to name a few. Inferi is another new signing, hailing from Laitila. "Shores of Sorrow" is a very good debut album, make no mistake about it. The atmosphere (what a cliché in my reviews) created by melancholic soundscapes based on repetition is very compelling; mid-paced drumming and the agony-filled shrieking vocals are bound to please friends of, say, Burzum. What a surprise! The certain lack of originality is a slight problem, but I might ask; how many modern Black metal bands are unique anyway? Still I can't help thinking that this one is similar to "Filosofem" in many ways. A glorious tribute to the majestic Northern nature; the fortress of downhearted solitude that embraces us. Shores of Sorrow indeed.