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Naglfar > Harvest > Reviews
Naglfar - Harvest

Righting the Ship of Nails - 90%

lonerider, September 29th, 2023
Written based on this version: 2007, CD, Century Media Records

Not even two full years after 2005’s rather lackluster Pariah, Swedish melodic black metallers Naglfar re-entered the stage with Harvest, which features a band improved by having learned from past mistakes and determined to right their apocalyptic ship of nails after steering into uncharacteristically shallow waters. In some ways, Harvest feels like the logical follow-up to the band’s lauded debut album Vittra, since both records share a comparable artistic vision and similar aesthetics. Even though Harvest is the work of a more mature and professional band, it still recaptures the sprit of melancholy and dark romanticism prevalent on Vittra.

Unlike the lukewarm Pariah, which vainly tried to duplicate the success the band enjoyed with Sheol, Harvest predominantly evokes a feeling of desperation and sadness, focusing more on introspective themes like depression, self-loathing, suicide, hatred of life and contempt for humanity. Generally speaking, the hatred and anger on Harvest is aimed more toward the inside rather than the outside, a shift reflected by song titles such as Into the Black, The Mirrors of My Soul, The Darkest Road, Way of the Rope etc.

Harvest gets off to a rousing start with the tempestuous “Into the Black”, pretty much a classic Naglfar track displaying all of their battle-tested trademarks, and the equally ferocious “Breathe Through Me”, which comes with a bit of a thrashy flavor. The more moderately paced “The Mirrors of My Soul” and the overtly catchy “The Darkest Road” are two of the more introspective tunes, the latter featuring a prominent and instantly memorable lead-guitar melody—delivered with, like many songs on Vittra used to be, a not so subtle touch of Iron Maiden—and audible keyboard backing, making this an easily accessible affair that even those not normally into the more extreme metal subgenres should be able to enjoy.

The true strength of Harvest, however, lies in the longer, more ravenous and somewhat more complex songs stirring up a howling winter storm of unholy blackened metal of death (or something). In that regard, the quite varied “Odium Generis Humani” is a precursor of even better things to come. Harvest may get off to a strong start, but the real beef is in the album’s second half, beginning with “Way of the Rope” and culminating in the amazing title track, a splendid and deeply moving ode to darkness and despair ranking up there with the best tracks ever recorded by this veteran band. From the rumbling bass in the intro to the melodically charged, heart-wrenching guitar leads accompanying the verses as well as the magnificent chorus, “Harvest” accomplishes the rare feat of resembling a ballad without actually being a ballad. If Paradise Lost underwent yet another drastic stylistic shift and decided to venture into black metal territory, they might end up sounding like “Harvest”, which is definitely meant as a compliment. Moreover, the beautifully poetic lyrics fit the music perfectly, recalling what I said before about the album’s aura of darkness and despair:

»Deceit for a lifetime has taken its toll
An emotional void, I feel numb and cold
You're all dead to me now
and have been for long
The time has come to reap, reap what you've sown«

The two songs preceding this masterpiece, “Plutonium Reveries” and “Feeding Moloch”, are excellent as well, the latter in particular conjuring up a blustering gale of pummeling blast beats and tremolo-picked guitars. Perhaps what makes Harvest so eminently enjoyable is the way it masterfully combines bleak and gloomy introspection with the usual odious, frenzied nihilism of Scandinavian black metal, and no track exemplifies this more than “Feeding Moloch”.

When reviewing Pariah, I bemoaned said album’s production values, particularly that it sounded too clean yet also rather stale and gutless. Well, Harvest also sounds a little too clean for my (black metal) liking, but it’s not that much of an issue this time around: the guitars have a little more bite, the drums a little more punch and even the bass guitar manages to make its presence felt. Whereas Pariah tried hard to be aggressive but the production failed to match that aggression, Harvest, while still plenty aggressive, attempts to convey a different, more sorrowful mood and comes with a fitting sound accentuating that mood.

Meanwhile, the musicianship is brilliant as always, maybe even more so than on Pariah because vocalist Kristoffer Olivius’ rabid shrieks sound more confident and menacing this time around, with Harvest marking the second time he handled vocal duties following the departure of original frontman Jens Rydén. The cover artwork, displaying the dreaded harvester of souls shrouded by mist and treading over heaps of skulls and bones, looks great as well and might be among the most visually appealing the band has ever had, matching 2020’s Cerecloth, which had brilliant artwork as well.

Naglfar are accomplished black metal veterans capable of putting out excellent material. It is therefore fair to hold them to a certain quality standard and to criticize them for failing to meet that standard, which unfortunately happened to be the case on Pariah. Luckily, Harvest shows them in much better shape. It starts strong and finishes even stronger, constituting a well-rounded, multi-dimensional album with a consistent concept and flawless execution. Those who still consider Vittra to be their strongest effort should give the like-minded yet more refined Harvest a try. Obviously it doesn’t sound exactly like Vittra—the band was younger, less experienced and it was a different time then—, but it takes a similar approach and checks many of the same boxes. Naglfar have rarely sounded better than this.

Choicest cuts: Into the Black, Breathe Through Me, Plutonium Reveries, Feeding Moloch, Harvest

Rating: 9.0 out of 10 points

Naglfar - Harvest - 78%

Tomecki666, April 13th, 2018
Written based on this version: 2007, CD, Century Media Records

Naglfar got me used to a high quality of their recordings, so when I got "Harvest" into my hands, I knew what to expect. This is the fifth album by those Swedes, so I was a little worried if they would be able to keep up to their high recording standards of the previous albums and if their music would still reek of hatred, evil and suffering.

Even though there are a few things on this album that I find weaker (we'll talk about them later), "Harvest" as a whole makes me smile. Naglfar is one of those bands that can effortlessly mix raw energy of black metal that we know from their first albums with the elements of melodic death metal introduced in their later releases. This mix makes their songs memorable to a point that you can recognize them from the first riffs. Traditionally of course, intensity mixes with atmospheric slower parts, melodic touches intertwine with ultra fast brutality, and in all that, solos, parts of keyboards or piano are thrown into as if into a twister of sickening sound.

Musically, the whole band shows us solid compositional skills, supported by technical instrumentality and respectable experience. Vocals are one of the 2 things that I don't find satisfying all the way to the end. Not that there is anything wrong because Christopher Olivius spits out wicked lyrics, but I think that on "Pariah", he sang with such passion and malice, that vocals added an extra level of brutality. On "Harvest", somehow I don't feel that rage and hatred as much. Don't get me wrong, vocals are very strong and solid, but I believe it's missing that sickening venom and cold madness known from "Pariah". To me, this album as a whole feels more melodic and somewhat toned down. I don't feel their previous hate of the human race, stench of burning sulfur and overall vile repugnance.

Except for those two little things, I believe "Harvest" is an inspired, interesting and originally diverse piece of work. I will definitely come back to it in a while. I've listened to it a bit too much last couple of days, and, I must add, enjoyed it sinfully. Now it is time for something new to pummel my ears and torment my soul.

(Originally written for www.metalbite.com)

Naglfar - Harvest - 90%

Orbitball, June 28th, 2011

A melodic black metal band like Naglfar deserves recognition for this one heck of a fine album. Follow up from "Pariah", this one is better produced and each vocal/instrument output is well heard. An exoneration of what is to be amongst the top of their game in this scarce genre of Metal. Rarely do you hear a band with a combination of melodic riffs combined with blast beating and scorching riff overtures that belt into your brain.

The music features melodies that are quite memorable and admirable. The combination of melodic riffs amongst bass lines that ebb thoroughly with remarkable creativity and atmosphere that's dark and dismal. Songs open up with either blast beating belting deep into the cranium. Tempo changes are incredible. Such intensity is featured here and the vocals compliment the devastating riffs.

Each track is memorable featuring tremolo picked guitar riffs that are blazingly fast. But it isn't featured on this whole album, just for the most of it. Best to listen to the songs with headphones so that you don't miss out on any of the melodic guitar mixed with a commanding vocals. Everything seems to flow unabashedly and most of the fast parts are during the vocal lines.

As I said before, this album was well mixed which each instrument flowing well into the core of this evil and solemn concoction of devastating melodic black metal. This is what was missing on their previous release "Pariah", which was also good, but it was difficult to hear the riffs outright. "Harvest" doesn't lack that component which makes it such a gem of a release.

The lyrical department features bits on suicide, death, dying, and so forth. It meshes well with the atmosphere of the album. Dismal topics, but what do you expect from these melodic black metal mongrols? Vocals throughout the album spew forth these hateful lyrics and give it an aura of eerie sounding touch of evil. You can actually understand the vocals without looking at a sheet of their lyrics. Not on every song, but for a majority of them.

If you're looking for something that's in the vein of extreme melodic black metal, then "Harvest" delivers. The music, the vocals, the drum lines are all in synchrony with riffs that are dark and dismal. So many features of this album contain riff structures that are admirable, vocals that are dark/depressing, drum bits with furious beating and bashing high intensity. Pick this one up because it does the Metal community great justice!

Say Naglfar out loud and try not to laugh - 77%

The_Boss, August 2nd, 2008

Swedish black metal unit Naglfar have released another album of melody fueled modern black metal. Obviously when you hear the term ‘modern black metal’ your mind wanders straight to the realm of Dimmu Borgir or Cradle of Filth; with Naglfar though there are small similarities towards mid-era and newer Dimmu Borgir, but it’s miniscule mostly with the modern production, vocal approach and usage of more blazing fast solos and lead guitar work. I mean, I don’t listen to much black metal but I don’t rarely often here hyper fast shredding solos like in Breathe Through Me for example.

Harvest has a slickened production and a semi-In Sorte Diaboli feel to it, but that’s because Kristofer Olivius sounds a lot like Shagrath; a vague distorted rasp that is easier to understand over most undecipherable rasps that some black metal vocalists go with. It’s quite accessible and easy to get into; also flowing away from a lot of black metal is the lack of blasturbation; which I suppose is a good thing in most cases. This album, he does a decent job with some really heavy rhythmic blasting and double bass pounding and does vary it up; but overall it’s bland. The best thing about Naglfar has on Harvest is the guitar tone and sound; it’s very crisp and clear cut but at the same time acting like a blade cutting through the air and mixing melody with the harshness perfectly.

Naglfar are a great newer black metal band taking a modern approach production-wise as well as compromising the use of melody quite a bit instead of a raw and dirty sound of nothing more full onslaught. Harvest lets up with mid-paced songs like The Mirrors of My Soul which has a great atmosphere that leads you into several different places, as if you don’t know what’s about to happen. Olivius does a decent job on the slower songs spewing forth some delightfully raspy nonsense into the microphone allowing for more of a unique sound I suppose. The only problem I find with Harvest as well as all black metal, is the lack of variety in the songs and the lack of memorability in songs. It seems like it’s just the same thing blast beats, razor sharp guitars and nothing much otherwise. It’s definitely a fun listen and better than a lot of black metal bands out there today, I’d listen to this over bands like Marduk anyday but it seems that sometimes I wish black metallers would write more unique that are memorable and having something that stands out. The opening to the title track with the heavy bass part, melodic lead guitar work and eerie atmosphere/vocals make for something great though; just when I thought Naglfar should stick with faster upbeat songs I am now changed to thinking the slower mid-paced songs like this and The Mirrors of My Soul is where Naglfar slays.

The best songs here that stick out are The Mirrors of My Soul with it’s strange atmosphere and unique grooves, My Darkest Hour with the catchy semi-sing along part “WALK ALONE! DIE ALONEEE! RAAWR!”, and the surprisingly cool solo in Breathe Through Me. I give props to Naglfar for their unique approach on ‘melodic’ black metal because it’s something that I don’t find often and it’s a change of pace; unfortunately often the songs run together but other than that, Harvest is a decent black metal release for new age black metal worth checking out if you like newer Dimmu Borgir, melodic black metal, or extreme metal in general; although I can see a lot of black metal fans shunning this as well.

Blackened melodic brilliance for Moloch - 95%

EB_Farnum, February 12th, 2008

As soon as the opening broken chords ring out you know you have something great with this album. Quietly ominous the sound is and gives the sense of an oncoming maelstrom,which is exactly what you get. The first track "Into the Black" explodes after this subdued entry and really takes hold of your mind and refuses to release you for the remainder of the nine tracks. The striking mixture of blackened power and intriguing melody on this album is truly hard to convey in words, all i can say is it sounded to me like the soundtrack to some twisted fairy tale. The melodies reminded me of the kind you may find sounding out from a childhood music box, but corrupted beyond all reason and spewed forth from within a black metal sensibility. This idea of warped childhood is possibly backed up by track 8 "Feeding Moloch", Moloch being an ancient god to whom the Egyptians and Canaanites used to sacrifice children to. Maybe I'm reaching with that idea, but it is true that an album of this quality encourages the listener to impose their own thoughts and ideas onto the unfurling soundtrack.


Backing up this skewed melody are terrific performances from every member of the band. Particularly the vocals of Kristoffer Olivius. I have to say at this stage that this is the first Naglfar album I have listened to and I am aware that there was a different vocalist earlier on in their career. I will definitely be checking out their back catalog on the strength of this album, but can't actually believe that the previous vocalist can match this man. He sounds truly possessed: harsh and unrelenting, the kind of voice that you wonder how he can't permanently suffer from a sore throat! It's high in the mix too, and gives the whole album the extra burst of brutality it needs. For a completely non-melodic vocal style Olivius gives a bizarre sort of swing to his phrasing that actually sounds melodic when in conjunction with the lead guitar lines. This is a great example of the kind of individuality and unique take on black metal that this band has that you just can't get without a lot of personal input into your music.


The other players in the band add a lot too. Bass, rhythm guitars and drums are all unrelenting and give the band it's solid metal spine, whilst allowing the vocals and lead guitars to come to the fore. This works really well as the lead lines are the dark soul of this band, as opposed to being based around the riff. This is one reason why I have always liked black metal: the constant buzz of the rhythm guitar from hell with the melody added over the top (sometimes). This band approaches it in a different way, but the black metal idea is always present.


This album also contains what has to be my favourite song of 2007: The Mirrors of my Soul. Just play it and it immediately drags you in with it's supernatural grove. Big rhythms, great leads and an unleashed vocal, it sums up the whole album. A sample of the lyrics from this song "When I close my eyes I see myself burn in Hell, Anointed in blood, crowned by the damned" sums up where they're coming from ideas wise. The man seems to hate his own existence as much as he bubbles over with misanthropic wrath. None more black!


Overall I'd recommend this album to anyone with any interest at all in extreme metal (especially black). And if you're on this website I'm guessing that that's anyone reading this! It rolls over you with so much power and raging, cursing vocal malevolence that it stays with you even when you're not listening to it. So if you want a melodic, brutal and truly unusual slab of blackness then look no further. Climb aboard the good ship Naglfar!

Probably the best since Vittra - 97%

Ajje_, March 7th, 2007

The expectations for this release were huge. No, not really huge, more like enormous. So after hearing the first song “Into the Black” my chin was literally hanging down to my feet. And so it continues, not a single bad track except for “Plutonium Reveries”, which isn’t really bad but not really as good as the others. That might just be the thing which makes this album better than Sheol, there aren’t any bad tracks. But on the other hand, there is no track on Harvest which is as good as “I Am Vengeance” from the Sheol album. But such tracks as “The Mirrors of My Soul”, “Odium Generis Humani”, “The Darkest Road” and “Way of the Rope” are not very far away from the great track from the Sheol album.

A track worthy to mention is the titletrack. It reminds so much about the first Naglfar album, Vittra. And the Vittra album might be the best they have done alongside with Sheol. It’s a bit slow but the guitar work and the vocal performance is just great.

Harvest differs a bit from their previous album Pariah. For example; the sound which is much thicker, the bass is much more audible and it’s a bit more melodic. But to say that Naglfar have lost all its evilness is like saying that rosters can lay eggs, which I hope everyone knows that they can’t. The lyrics are great as always! It’s so suitable with the music and Olivius growl, it kicks ass!

Besides recommending this great album which probably will be the best melodic-black metal release this year, I want to recommend you to buy the limited version which has a bonus DVD with live tracks, etc. Extremely worth the price!

Sheol in ruins ? No ! - 55%

phaser, March 7th, 2007

I was very sceptical when i found out that one of my favourite bands is going to publish out a new album. Sadly, I was very right to worry. The new Naglfar album Harvest is probably the last nail that was needed to crush any hope in me for this band.
The album has it's moments but they are not as many as I would like them to be. Actually only 2 songs from the whole of 9 appealed to me. Now I won't make a song-by-song review, because there really isn't a point. You must hear it to believe me.


Something in this album is missing. And the more I listen to it, the more I find out what. It's the pure hatred and evil that was streaming out from the previous albums. It is gone now. The devilish attitude and carnage are reduced to rubble. From an unique melodic black metal band with it's own distinctive souding the band has turned out to be a mainstream ... shit. Trust me, It hurts me when I write this, but the rage, burning inside me is too big to comprehend. From what I could desipher from the lyrics I am left with the impression that the band doesn't like what they do anymore. The genious lyrics from Sheol are gone. The beauty of Pariah is no more. The melodic guitars for which the band was distinguish are unfortunately almost gone. I feel like listening to some new Dimmu Borgir album (which by the way is a bigger shit than this).

The only 2 songs I really liked from this last installment from Naglar are 'The mirrors of My Soul' and 'Harvest'. They are the only two that still have that Naglfar spirit I was talking about earlier. Why ? I would like to ask the question WHY !? What, two years weren't enough to make a masterpiece like all the previous ones ? The pure black metal that Vittra had cannot be found here at all! It's dead! Gone! Besides the harsh vocal I can't think of another thing that can classify this album as black metal. I am truelly disappointed. Pariah had more potential than this. The other songs were not that bad to just throw away, but I can't think of a thing to make me listen to them. I'd rather have a good old Black God or Abysmal Descend. The reason for this degradation is yet unknown to me. I hate to think it's based on lazyness. I hereby state that I shall not listen to any other new Naglfar album, if there is any at all. When I watched the trailer for the album I was left with actually good impressions only to find a disappointing reality. But that's how things are. I learned not to get my hopes too high, 'cause they may (eventually) turn out in vain.


I give this album a total score of 55 mainly because of the two songs I mentioned earlier. And a bonus 20 points because of the greatly tuned guitars in those two songs. That's my 2 cents.