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Nifelheim > Envoy of Lucifer > Reviews
Nifelheim - Envoy of Lucifer

Ancient Gods Rise Again - 89%

LickMyOrangeBallsHalfling, August 14th, 2019

Apart from being the constant core of Swedish black/thrash stalwarts Nifelheim, brothers Pelle and Erik Gustavsson, AKA Hellbutcher and Tyrant, are known as two of the world's biggest Iron Maiden fans. And while this influence has always been visible in their work, nowhere is it more apparent than on "Envoy Of Lucifer." There's still plenty of the raw barbarism that they've always had, but it's a bit more refined and ambitious here. There's more of an emphasis on guitar leads, and the solos are a bit more traditional, sounding a little more like Dave Murray and a little less like Quorthon. This move towards a more traditional metal-influenced sound works out in their favor, as it gives the songs a bit more catchiness and memorability. "Storm Of The Reaper" is easily one of Nifelheim's most memorable songs for these reasons. Based around a foreboding, chiming lead guitar riff, it also features one of Hellbutcher's best vocal performances on the album. The guitar tone is also a bit more atmospheric and less direct, filling out the sound nicely. Even the bass takes a more melodic role, unsurprising seeing how Tyrant has made no secret of his adoration for Steve Harris. For once the lyrics are actually somewhat discernible, although it's largely just black metal buzzwords like "Satan," "evil," and so on.

But there's still plenty of the aggression and misanthropy that we've come to know and love. Hellbutcher sounds as aggressive and hateful as he always has, and the fast tempos and forceful drumming adds an extra layer of power to the music. Songs like "Evil Is Eternal" and "Claws Of Death" call to mind the first few Nifelheim albums, and I mean that in the best way possible. "Belial's Prey" is a straightforward black/thrash tune that leans more to the thrash side of the spectrum, reminiscent of Aura Noir or Celtic Frost. This song is one of the weaker points on the album, however, and there's not much that stands out about it. The same can also be said for "No More Life," but it has a nice classic metal feel to it, with an almost bluesy stomp in the beginning. The drum intro wouldn't sound too out of place on "British Steel."

Personally, I really enjoy that Nifelheim gave into their more melodic side on this album, and that they continued in this direction somewhat on their 2014 EP "Satanas." They may not always be the most original band, or the most innovative, but they know how to pay tribute to the legends while putting enough of their own spin on it to keep things interesting. If regular black metal is too noisy or unmelodic, "Envoy Of Lucifer" is a pretty damn good album to check out.

Insidious - 84%

Felix 1666, May 14th, 2016
Written based on this version: 2007, CD, Regain Records

Ugly and vile, unrelenting and energetic - all these attributes accompany the Swedish chaos squad Nifelheim since the beginning of their work. They do not plagiarize, they have a unique identity, although they do not deliver any new impulse to the scene. Instead, the guys focus on the creation of effective songs that are based on the tried and tested methods of sonic villainy. The talent of the band to write coherent tracks is the crucial factor for the appealing quality of their outputs. "Envoy of Lucifer", ornamented with a suitable artwork, marks no exception. The sour taste of its ten black thrashing eruptions underlines the integrity of the non-fickle horde. Even their smoothly flowing tracks possess a subliminal perfidy that makes sensitive souls shiver and pray to their God (who was not able to prevent the release of this album...). The ingenious "Storm of the Reaper", equipped with irresistibly driving riffs and lyrics which have been written by Erik Danielsson, celebrates the high art of performing a song which is easily accessible without lacking of a long lasting impact. Not to mention its insidious aura - this highlight draws the listeners to hell without them even noticing. Yet it goes without saying that the Swedes have more fascinating tunes up their sleeves. It distinguishes the dudes that the exact configuration of the single pieces is of minor relevance. Nifelheim are able to increase the level of intensity and insanity or they can choose a slightly more melodic approach. In most instances, the band achieves its aim very successfully.

It almost seems as if the band members themselves are merged with this crafty style of metal. The homogeneous compactness of the album leaves no doubt that Nifelheim know what their fans appreciate most. Pacifism sucks and therefore the band presents their attacks, one after the other, without any signs of fatigue. As said before, these supporters of Satan do not walk the most barbaric way, but civilization is also superfluous, a thing which only communities of weaklings really need in order to organize their miserable lives. Songs like "Open the Gates of Damnation" provide the highly welcome cocktail of caustic guitars and a fairly melodic chorus, but, of course, do not make the mistake to understand "melodic" in the narrow sense of the term. Everything is dominated by the cataclysmic atmosphere and lead vocalist Hellbutcher, responsible for "satanic ritual proclamations", does not hesitate to contribute his expertise in creating all kinds of catastrophe. His raw, hostile and repulsive voice crowns the inferno. This guy knows exactly how to express a patronizing and scornful mentality and appears as a real specialist for filthy decadence.

The more the album progresses, the more it becomes obvious that these envoys of Lucifer want to take possession of the listener. Just listen to the maelstrom-like lines that emerge from the structured chaos after the solo of the title track or get hypnotized by the traditionally rasping guitars of "Evil Is Eternal", the probably most archaic track of the album whose atmospheric beginning is fairly comparable with the aura of Pest's "Devil's Mark". For sure, one might criticise that some of Nifelheim's songs are reduced to the essentials. Yet it goes without saying that the dudes are strongly engaged. They just do not need to make much effort in order to achieve the intended effect. Sometimes it is enough to serve a strong riff that coalesces with furious verses and a chorus that broadens the horizon of the respective song. Lend an ear to the devilish "Belial's Prey", if you don't believe me. By the way, this number also scores with a intriguing solo part. Honestly, I am not able to figure out grave mistakes that would be able to affect the overall picture of "Envoy of Lucifer". The guys seem to be proud of the fact that the album "was recorded strictly analogue", but irrespective of this tradition-conscious approach, the technical implementation of the full-length is well done. No doubt, "Envoy of Lucifer" has a lot to offer for fans of black thrash metal. Only one question remains: why does the CD player in my car fail to display the title of the fourth track? Instead of "Claws of Death", this crude apparatus calls the tune "F**k Off !" I am sure, Lucifer himself has his finger in this pie.

Their weakest release, but still decent - 65%

c_zar, December 22nd, 2012

First off, let me say the obvious: if you like the previous Nifelheim albums, you will like this one too, as do I. If you dug the others, here’s another for you. That said, I will admit to being a bit disappointed.

Let me tell you why I’m not totally thrilled with this one. Nifelheim, like Motorhead or Inquisition, is a band that sets and stays its course, so there is no cause for alarm for the shit and puke-smeared Satanic legionaries that follow this dirty little band from Sweden, yet each of Nifelheim’s previous studio efforts served the lord Mr. Satan in a slightly different way. The eponymous debut was the balls-out crazy bonkers Nifelheim album with no finesse. The second album, Devil’s Force, was the first that broadly exhibited the Twins’ (Hellbutcher & Tyrant) fascination with Iron Maiden; they structured their creepy, dirty black thrash in more intricate Harris-style arrangements with timing changes, twin leads, open spots, etc. (albeit all ugly, nasty, and tortured). The album that followed was largely (and correctly) considered their best: Servants of Darkness. SoD had a few bonkers tunes and then shitloads of creepy, more memorable material than previously proffered by the band - still nuts, vomitblackthrash Nifelheim, but bigger, scarier, and more thought out.

That brings us to "Envoy of Lucifer", which seems largely to be in the style of the first album's full-on bonkers black thrash with a couple of exceptions. “Gates of Damnation” has a cool proggy break (2:20) and the King Crimson chords lodged in “Fuck Off” also stand out as a something strange, as does that song’s deep pocket chorus (the only open section to rival the SoD developments). And there’s a fun nod to Iron Maiden’s “No More Lies” in the chorus of the similarly-titled “No More Life”. With these and a handful of other exceptions, the jam at the end of the album and the great bass lines/harmonies in “Storm of the Reaper”, this is a manic, chaotic record, the coldest recording they’ve done, especially when set against the warmth of the previous two, sounding almost as caustic as an Impiety record, which is not a compliment.

The drummer doesn't help things. He regularly chases the songs and occasionally plays things that have no bearing on the actual tempo (the blast in the title cut is troubled and the ride in “Raging Flame” is from another planet), sometimes pushing this release into war metal territory of reined abstraction. All in all, it holds together, but would be more punishing and more exciting if the band were more unified. Kind of like Trym’s performance on Anthems to the Welkin at Dusk, the drums fit into the space, but never seem as if they are the skeleton or motor of the song.

Let me say this again: I enjoy this record, but when considering the more singular/repetitive compositions, the colder/less appealing sonics and the troubled drumming, I know that when I’m in the mood for Swedish vomitblackthrashfilth, this is the album of Nifelheim’s I will reach for least often.

Neophytes are recommended to begin with their stellar Servants of Darkness and work backwards until you arrive here, covered in the tarry, fetid shit of Beelzebub.