Frostfödd

Back in the 90s there was a bit of an explosion in popularity around the AD&D campaigns I was running, and we somehow ended up with a few dozen players (some at my University, some in my hometown), and I bring this up because for some reason long lost to my memory, this particular black metal album became like a 'mascot' for our play group. Perhaps we were just being ironic because those of us who were also metalheads had become so inundated with the black metal genre that we found it a bit silly or cliched, but we were constantly lavishing praise upon this as some sort of gag. In the end, though, the joke was really on us, because Frostfödd is actually a solid, unsung Swedish black metal effort and one of the Invasion Records releases that I pull out most often when I'm in the mood.

It has all the staples: the purply-frost artwork mirrored photography, the glowing digital logo and title, and a sound which nobody would ever accuse of any sort of originality. There are times when I get this one mixed up with other Swedish -vinter bands, like Midvinter, or Vinterland, but in truth this is defined by a strictly straightforward, blasting black metal aesthetic which doesn't often attempt to leap out at you with severely catchy riffing, but will throw in a few surprises like the flute in the title track, or an oboe, or some spoken word pieces. When it comes to the majority metal ingredients, it's quite akin to a Marduk or Dark Funeral, blasting away with abandon, simple migrations of chords that get you fully in the mood for this old Swedish stuff, slathered with strong, impish rasping, intense drums that never need to let up, and a pretty swarthy low end with some audible bass, although it too often mimics the rhythm guitar patterns and doesn't quite stand out.

There can also be a folksy swagger as with the great initial riff on "Den lybska örn", but even that one cedes to the incorruptible blasting purity. However, where a Marduk might use such a constrained and aggressive style to convey imagery of warfare or Hell, you can subtly feel a more nature-oriented warmth coming through the chord choices on Frostfödd, and it simultaneously feels like the writing was not terribly original, but also a head of its time, since there are floods of notes here that feel like precursors to so much of the nature black metal or post-black metal of later years. Vargavinter had nothing on much more memorable, interesting bands like Dissection or Mörk Gryning in the same scene, but it's solidly produced, purist black metal that with just a little something extra for when I'm combing the shelves for a good frosty face-blasting...perhaps a poor choice of words.

-autothrall
http://www.fromthedustreturned.com

There was a period in which I was totally fascinated by the Invasion Rec. bands and thanks to that label I also discovered several good albums. In this case, we are talking about the only album by one of the most obscure and forgotten realities in the Viking music panorama. It is hard to release just one album and be remembered, but Vargavinter should be in this case because the music here is very good.

When I first listened to this album I was astonished for the cold and dark burden of its notes. We are not talking about a common Viking black metal album. These guys really point to the core of the black metal with a hint of melody just to recreate frozen landscapes but the various chorus and strange melodies are almost completely forgotten. The guitars work is really immense and it sustains the cold atmosphere. For example, check the riff on the title track after two minutes from the beginning. Inside we can find folk and black influences and that’s great. There is also a violin sound but every instruments we generally use for the folk music is never too utilized and the atmosphere is from the electric guitars.

The blast beats are icy and the palm muting riffage leads directly to Dissection for the melody that lies inside. Another great influence can be seen in the very first Enslaved for the impulsive and schizophrenic sound, with just a small addiction of melody. What is great is that here nothing is in excess and everything is perfect in its well balanced dosage. The vocals are the only point I can complain about because are a bit too low in volumes compared to the instruments and, even if the production is not awesome, it’s a pity. But I have nothing to say about the shriek in its form: it’s very good.

Sometimes they reminded me also another great band that played icy black metal in the past: Vinterland. The similarities are several and the use of the tremolo picking on the chords to create cold, foggy and snowy landscapes is the most important one. The melodic overture between the blast beats of “Alvdans” is simply great and these small doses of melody really capture your attention because they are hidden and every time you discover them it’s a pure pleasure. “Some De Sade” is one of the songs that brings inside the heaviest and most audible burden of folk melodies concerning the guitars work and some intermezzos with other instruments.

“Vintern Min Slavinna” is unbelievable similar to the great marches that Hades from Norway made us enjoy in those years with sounds of thunders which go hand in hand with the melodic acoustic guitars over the electric ones. This time we ca find also the classic choirs by male vocals in pure Pagan tradition. The violins are now more present. The final track is the hyper violent “Norsebergens Maror” where the impulsive side puts again the head out. A perfect song to end a complete album, always well balanced between hidden melody and more evident black violence.

It’s recommended to the most extreme lovers of black/pagan metal. It’s not full of dull and annoying melodies and that is what I really like. Very good work guys. I hope there will be a second effort in this style.

There are so many totally forgotten bands who created one or two cool album(s) and then split up! Vargavinter is one of them.
This is a Viking black metal band (the black features are more in the foreground), and play this music in a very good (though not original) way. The songs’ tempo is always between mid-paced and fast (more often fast…), but the melodies are good. Actually it’s a bit like early Enslaved, but more blackish (and not that good.)
The riffing is “colder” than usually Viking bands, so the tracks are not at all “happy beer songs.” This material has really cold (but mighty, powerful) atmosphere. Just for this reason a better production could help it much. Rawness alone wouldn’t be a problem, but the whole thing is too silent (you should turn the volume up to hear anything), and some instrumental part is then lost. Too nad, because the themes are really good.
My other problem is with the song structures, they are a bit repetitive. It doesn’t get annoying but at the half of the album I would expect something different. They shouldn’t have to stick as maniacs to the idea of being a “black metal” band. Therefore there are not that tempo changes which could make it a really outstanding album.
Best tracks: 4.Älvans, 8.Norsbergens Maror. Because the latter is a bonus track, I recommend strongly to try to get the picture disc version.
However this album is not a classic, it’s far above average and recommended for all fans of this genre.