Likferd

On the shores of the largest fjord in Norway is the small municipality of Sogndal, a place that saw the birth of Windir in 1994 by its creator, the ill-fated Terje “Valfar” Bakken, a young multi-instrumentalist who decided to turn into music the immense love and pride he felt for his homeland. This beautiful Scandinavian place is inevitably linked to the band, serving as the main inspiration in the lyrical section, with those wonderful and epic traditional stories that Valfar tells us accompanied by his inseparable accordion.

If there is something that makes Windir special (I would dare say unique) it is the use of Sognamål, a dialect typical of the Sogn region, in most of its lyrics. It seems tremendously genuine to me when a band uses its native language, something very precious that should never be lost, it gives a traditional touch to the music, a folkloric and magical aura.

Two years after the magnificent "1184", the Norwegians return with what would be their final record, "Likferd". Its title (“burial”, although, from what I have read, the word is somewhat more complex to translate) and the gloomy cover, a 19th century painting depicting a funeral ceremony in the Sogn Fjord, seem to foreshadow the imminent death of the band. In fact, the album has a darker and sadder atmosphere than in their previous work. Something to highlight about "Likferd", in addition to the everlasting keyboards, are the brief interventions of Cosmocrator's clean voice, very Vintersorg-like, which provide an extra touch of epicness. Viking voice, without a doubt. There is no shortage of characteristic Windirian melodies filled with nostalgia, sometimes the guitars played by the Strom-Sture duo seem to cry.

“Blodssvik” stands as one of the best tracks on the album, full of powerful pounding riffs, melancholic guitars and clean vocals. A curiosity about this song is that it was performed at the last concert in Windir's history with Valfar's brother in charge of the vocals. A beautiful and emotional tribute. Other songs worth highlighting are “Fagning” and “Ætti Mørkna”, the longest on the album. The first of them is a colossal composition with beautiful guitars, heroic clean voices, epicness everywhere, ingredients that make up the perfect soundtrack to cross the doors of Valhalla. Standing hairs. One of Windir's jewels, a viking metal masterpiece. “Ætti Mørkna” is another of the high points of this work, a glorious closing in the purest “Journey to the End” style. Almost eight tremendous minutes, epic and full of feeling. The song talks about the death and legacy of the warrior Arntor, whose story we already knew thanks to the band sophomore album. A great ending in which Valfar becomes the new Arntor: Valfar, ein Windir.

It is true that "Likferd" may pale a bit next to its predecessors and is probably the Norwegians' least memorable album, but it is still very notable and enjoyable. The enormous “Fagning” and “Ætti Mørkna” alone make it worth listening to. This band does not disappoint. Valfar can be proud wherever he is because he left us four excellent works in the barely ten years of Windir's existence. An immense legacy.

Heidra Valfar!

''Likferd'' proved that Windir didn't know how to disappoint. There's more complexity in the songwriting than on previous releases, and ''Likferd'' is, as all other Windir releases, among my favourite metal albums.

There's quite some diversity on this album, you get both pure black metal riffage, as well as the viking metal songs Windir is known for. The guitar work on ''Likferd'' is quite melodic, notes play high up on the fretboard with both speed and precision, however there's also a fair amount of power chords, as well as tremolo picking. Valfar added many new elements to the band, whilst still keeping the beloved Windir sound. The synth, though less predominant than on previous recordings, is a major aspect of the album, and is a great example as to how to properly use synth in metal.

The music itself is for the most part quite fast paced, however every so often there's a break from the speed, and tempo decrease. The song order on the album is in itself quite interesting; it starts of as solid black metal, with some experimental traits, however about halfway through the album, it transitions into some of the greatest viking metal I've ever heard. That isn't to say that there's no viking influence on the first half, however, only that they're a lesser aspect, whilst on the latter half, the album fully embraces their viking sound.

The guitarwork is great, and much like its predecessors, it's quite melodic, as I've already stated. The guitars are different in the aspect of their excessive use of tremolo picking, and though there was a fair amount of tremolo picking on ''1184'', it's quite a lot more on ''Likferd''. The guitar tone is very good, as they're heavily distorted, yet are clean enough to be heard properly.

The drumming is also very well done; and Steingrim is quite a talented drummer, and I think he has improved quite a lot since ''1184''. There's more variety. Though speed is used when necessary, there's plentiful of instances where the drums are nice, slow and quite basic, which makes it way more impactful when speed and blast beats are actually used. The kicks are also very impressive, and the sheer speed on the kicks is a bit baffling to me, as I can barely go half the speed for half the time.

The bass guitar isn't really audible most of the time, which is a shame, as Hvall isn't to bad of a bassist. Though there are a few instances, such as the intro to ''Blodsvik'', the bass is pretty much never heard, so it's hard to comment on it. The synth is, as I've already stated, quite good. One problem I've had with synth in metal, and in black metal especially, is when the synth never plays it's own melody and is clearly written by the guitarist who doesn't even play synth, however this is not the case for Windir. The synth adds quite a lot to the music, and though it often dwells in the background, there are numerous instances where the synth takes the lead.

As for the lyrics, I have somewhat of a split opinion. Windir's Norwegian lyrics are great, however their English lyrics aren't as amazing. The English lyrics are okay, they're not inherently bad, however they're somewhat mediocre. The Norwegian lyrics, however, are indeed quite epic. The Norwegian lyrics, written in the Sogn dialect, showcases brilliant use of rhyme, and the historical and somber themed lyrics feel so genuine, and it's clear that they're written with passion, and thus they're very enjoyable (unless you're not Norwegian, of course, in which case that's a shame).

The vocals aren't to different from any other Windir album, and the shrieks are quite regular black metal vocals. The clean vocals are great, however, and they can only be described as epic. I have a similar problem with the use of clean vocals as I do with synth; clean vocals usually just follow the same melody as the guitars, however the clean vocals here stand own their own, and provide their own melody. I can only really picture Cosmocrator in full viking armour doing these vocals, as his voice is what I'd imagine a viking's would sound like.

The production is fine, however I'm a black metal fan, so take that as you may. You can hear each instrument clearly, and you never really get confused as to what is played. That's not to say that the productions sounds over-polished or anything, however.

Despite Valfars decision of taking in five new members to his band, the sound of the band have not changed THAT much since Arntor. Likferd is a much darker album though, and it's pretty ironic with the title also, it is a bit like it could have haunted that poor man. There is much more black metal influence in the heavy riffs, but there are also the well-known guitar melodies, just feeling more dark and sorrowful while keyboard have been added to the album to help create more atmosphere.

The use of folk instruments on the album is still limited to accordion, which Valfar only uses in the song "Fagning", and only for about twenty seconds as a part of the intro part. The guitar is still the main instruments when it comes to putting the folk-influence in the music, while the synths can pop in at times such as in "Blodssvik" where the heavy music stops only to make space to some dark, but beautiful atmosphere, the album cover fits well for that picture I am having in my head, the heavy guitar kicks in, before letting the synths go on with some electronica sounds even, but it sounds really great though.

The mood and atmosphere of the album is dark and sorrowful as mentioned earlier. The title and picture describes it well, "Burial". The songs are varied and memorable, having their own story in the music, you don't need to listen to the lyrics, especially because those in Sognamål might be hard to understand.. And Valfars vocals are harsh as always. It's pretty hard to hear what he's singing without reading the lyrics. Throughout the whole experience the vocals doesn't really get away from the typical black metal voice, a bit less-shrieky than usual black metal. At times, Cosmocrators clean vocals are being put in, and they are stronger than the clean vocals on Arntor for instance. They are beautiful and fits the music nicely. They are not being used too much either and helps the album getting even better.

The production of the album is kinda thick, but still good. It can't be compared to black metal releases at all. The sound is a bit heavy, the drumming are put below the guitar and bass, the bass not being heard very often, but there are some really really good basslines, like in "Fagning" along the previous mentioned accordion, where the guitar is not present. The drumming buy Steingrim is decent, I must admit that his drumming has never really been anything special at all, it's decent, but nothing new. On this record there is a lot of blast beats being used, though. But again, the drumming is put a bit away and is not really anything you put much attention to throughout the album.

Sture and Strom are a brilliant guitar duo putting out good black metal riffs and with some high note playing along, which is a Windir "trademark", solos are also being played between verses as in "Blodssvik". So they are definitely the highlight the album. But I'd say that all the music put together creates a great great atmosphere and everyone is doing their job very well.
There are more blackish songs, such as "Despot" and "On the Mountain of Goats", where the high note playing is not very present and the tempo is much faster than usual, riffing wise. I consider "On the Mountain of Goats" the worst song on the album, it's fast riffing and decent vocals. I always skip it to be honest. But it's the only bad thing on the album. Despot has more use of synths at times, changing the songs tempo down. The riffing here is varied black metal riffing, and it's a good different song compared to the much high note playing.

All in all, this album is very very good! The best along Arntor I would say, it's a bit more blackish, but still very good. The use of synths and guitar melodies here is top notch and the atmosphere is dark, in both an evil way but also a very sorrowful way. Likferd was a nice "ending" album from Valfar. If you are into something different black metal, try out it out, if you are a Windir fan, get it!

Rest in peace, Valfar.

Valfar’s last battle has been the one he fought against the storm on that tragic day of January 2004 – but that one, he lost it. Couldn’t it then look bitterly ironical that what ended up being the last Windir album had been entitled Likferd (burial)? Just as if Valfar had foreseen almost twelve months before the events of 2004 there wouldn’t be another one, ever.

Of course Likferd isn’t another 1184, what doesn’t mean it’s weaker, but simply a bit less accessible to the layman. No more accordions, less synths and keyboards, a more discrete presence of Cosmocrator and his “epic” clean vocals, a return to a majority of tracks sung in Norwegian: everything sounds as if Valfar had been afraid to lean towards a more commercial approach of Viking metal and was wishing to return to his more black-ish roots. However a more in-depth look would quickly reveal it’s far from being the case, as for instance on the four Windir albums this one is probably exhibiting the cleanest production; what of course doesn’t mean it sounds crystal-clear but simply denser, deeper – and better. The bass resounds, vocals as well as drums are mixed a tad down when compared to 1184, what isn’t unpleasant as it enables the listener to concentrate on the superb, both thick and raspy guitars which most of time occupy the front of the scene. And of course the crowning catchy touch is added by both the cold-as-ice backing orchestral keyboards, and Cosmocrator’s exalted clean chant which might sound ridicule and over-the-top to some, but has been nonetheless an essential component of Windir’s latest sound.

All of the above wouldn’t however suffice to make a great album if the songwriting wouldn’t follow. Granted, there’s undoubtedly a couple of easy songs here, and that may be the only reason why I’d rank Likferd a tiny step below its predecessor. The opening track especially, though being the standard Windir high-paced raging anthem fully fulfilling his quota of screams and blastbeats, doesn’t bring anything revolutionary, and in any case doesn’t live up to the following tunes. In the same genre the third track Despot simply works better with its huge epic break going on par with more subtle bridges. The same could be said about Blodssvik: coming right after Despot, it looks a tad pale.

Because Valfar isn’t ever as good as when he flirts with epic extravagance, I’d quote as evidence the long and complex Fagning and Aetti Mørkna where he’s eventually able to display all his genius both as a composer and a musician. Fagning especially can easily stand for the best track with its storming intro, majestic ending and heavily guitar-driven verses balanced by both softer and faster, more keyboard-oriented breaks. Everything being topped by an important part devoted to lead guitars, which once again shows the Windir guys not only knew how to perfectly build a grandiose atmosphere devoid of any cheese or pomp, but also how to play their instruments.

Not to say the only worthwhile tracks are the longest. Paradoxically what is by far the simplest track of all is also one of the best: Martyrium will be probably rendered immortal by its unforgettable lead melody and neverending double bass which blend into an epic breath which would incite even an 80-years-old bed-ridden to rise and go to battle. Less catchy at first glance and more subtle, On the Mountain of Goats is remarkable for its slow, freezing middle part, maybe the most BM-influenced of the whole album. Eventually Dauden is the shortest but certainly not the less lively tune here, in any case maybe the most reminding of 1184 – even if it lacks the accordion.

Valfar’s death may have been a great loss to every black/Viking metal lover. However, first the way he died hasn’t been unworthy of a true Viking warrior, secondly (and more importantly) he died at the pinnacle of his glory, after having released what will probably remain another Viking classic for years. One is all but sure the hypothetic following albums would have been equally strong; so like the old man on the left of the cover let’s just take a posture of sad, but quiet, resignation.

Highlights: Martyrium, Despot, Fagning, Aetti Mørkna

This is my favorite Windir album, showcasing all the elements that made this band great. Is this Melodic Black Metal? Black Metal with melodic tendencies? Whatever it is, it’s good.

The album begins spooky and explosive, with a well rounded, full sound. I don’t know why, but a lot of Black Metal sounds tinny. Too much treble in the mix. Windir brings up the bass and drums, and adds a touch of reverb to the guitar parts. It all adds up to a great sounding album.

Some Black Metal acts use the keyboards primarily for melody, while others use them for mood. Windir doesn’t seem to rely on the keyboards for anything in particular, but rather uses them as part of the band. It’s not just a background instrument, in other words. ‘Blosdssvik’ for example contains a weird-ass keyboard interlude, while it shows up in ‘On the Mountain of Goats’ in the form of an evil sounding intro.

The rest of ‘On the Mountain of Goats’ sounds a bit experimental in parts, changing up between almost pure Black to traditional Heavy Metal. Can’t say it’s my favorite, but it sure sounds interesting.

The vocals are almost completely traditional Black Metal from beginning to end, but choral elements show up now and again. RIP Terje Bakken, good vocalists are hard to find. The most purely Black Metal track on the album is probably ‘Despot’. Reminds me a lot of ‘Hail Murder’ by Dark Funeral.
The standout track on Likferd is ‘Fagning’. This is a monumental centerpiece to an already great album. Over 8 minutes in length, it contains everything you could want from Windir. Roaring vocals, clean choral bits, guitar harmonization, galloping bass/drum rhythm overlaid by a fantastic folksy solo guitar… It blows me away. Not a second is wasted.

The final track ‘Ætti Mørkna’ serves as a sweeping, triumphant closer. Also quite a long track (not quite 8 minutes), and it could be longer. It could go on all day and I wouldn’t mind.

For any fan of melodic extreme metal ought to enjoy this. Also go check out Vreid, which is where most of the guys ended up after the death of their vocalist.

Because of the high replay value, and the fact that all the tracks are outstanding (well, 'Goats' puts me off a bit) I give this album a high score.