Till fjälls

As someone who reviews metal albums on a regular basis, as well as being a metal fan for well over 40 years, there are many great metal albums out there. But sometimes an album comes along that changes how we look at metal. I’m not sure if that was Andreas “Vintersorg” Hedlund ‘s intention when he wrote his debut full length, Till fjälls, but that’s exactly what this album did. His intention was to create a sound that was black metal based but also focusing more on clean vocals and adding more traditional Swedish folk elements to the that base. He inadvertently patented a new sound and sub-genre….true folk metal was born.

The album opens with, “Rundans,” which is basically an intro. It’s part acoustic and part electric. Keyboards take the place of what sounds like wind instruments. “For kung och fosterland,” follows as the first proper song. Opening with speed and fury there are tremolo riffs and grim vocals but they lead to a much more melodic approach with the clean vocals taking over. Mr. V. sang in a low baritone which almost became his trademark. But it’s the way he used those melodies intertwined with the heavier more black metal oriented sounds was new and nothing like it existed. Even the little Grieg interlude added another layer to this song. A song this huge in less than three minutes is impressive.

But what the real magic here is the entire package. Songs about that show how ancient paganism was so rooted in the actual forces of nature; while done so in his own language over top this epic metal music that was all new. The title track is the perfect example of how Mr. V doesn’t just write metal songs but full on compositions. This track is just magic from the opening iconic piano opening to the chorus, this song makes you want to live in a cabin in the mountains. Even before knowing the English translation to these lyrics I knew they had special meaning. The chorus is just executed with such emotion you can feel it through the music.

This album means so much to me in a personal way but that does not take away from the sheer incredible musical journey that this album takes you on. From the cold of Norrland this album manages to take the cold and grim and add some warmth and emotion. This masterpiece was just the first in a string of absolutely brilliant albums from this incredible talented artist. After 25 years this album still resonated with me the same as it did when I first heard it. This is proof that great music is timeless.

It takes a special kind of musician to put his/her own completely original spin on an already existing genre, and this is to be considered all the more fantastic within the introverted world of black metal. Back when the heavy hitters were still taking the face value of their approach WAY too seriously, it was completely unheard of to try and do the actual musical end of things compositional justice, and I doubt that any tried-and-true corpse-painter woudl ever see it come to light.

And then came Vintersorg...

I've always had an appreciation for musicians who shoot for their personal, respective styles from a musical standpoint versus an ideological end, as it shows a grand maturity versus adolescent madness. That's what Vintersorg (or, rather, VARGATRON) had shot for all those years ago, but after theri dissolution nothing came to pass until Mr. V recorded all those songs by his lonesome, which gave the listening world the majestic "Hedniskhjärtad". A fine example, indeed, but pretty rough around the edges in terms of songwriting and production values, and with such a debut things could only get better once some of 'Sorg's chops were tightened over time...and tightened they were. His is a craft that's almsot impossible to emulate, and as a result, the artistry that is VINTERSORG knows no relative equals. "Till Fjälls", while not being too dramatic a departure from the sound presented on that first little EP, seems a lot more focused and tight, bringing to musical life the chaotic beauty of those monstrous Scandinavian winters. Vintersorg is at his best here, in that "my way or the highway" solo act mentality that ensures proper and competant performance by way of the grinding guitar riffs, atmospheric synths, folk melodies and his now-patented dual vocal approach (those wickedly evil blackish screams and those epic baritone cleans) that do nothing if not compliment the layers preceding them, all coming together akin to a collection of artistic movements rather than riffs and chord progressions. Even the cheap, uneven drum machine usage is fairly well arranged and is mixed low enough to not bog down the rest of the music. Every successive track is as stirring and powerful as the one before, and once the listener becomes draped in the brilliance that is "För Kung Och Fosterland", the title track and "Jökeln", that Viking blood buried deep in Sorgy-boy's veins come a'bubblin' up, infectious and wild, and dares you to not give in. And you know you can't.

All in all "Till Fjälls" is a rarity, a proper showcase of black metal not taking itself too seriously. Vintersorg has a sort of controlled genius that seems to shine brightest on this and the other two discs of its ilk (up to "Ödemarkens Son"), so for those who feel the need for blast beaty goodness without all the personal drama, enjoy to the fullest extent.

I love this album. One of the good things about folk metal is that for the most part, it's the most consistent genre known to the world of metal. When you get a folk metal album, you know what you're getting. Melodies out the yazoo, acoustic guitars, clean singing, mixed with the aggression of metal. Also look out for poetic lyrics in the form of an ancient lay or poem, and the occasional female sung parts.

Some call this black metal, but it's really not black metal at all. It's pure folk metal, and as a folk metal album, this doesn't disappoint at all. It's very wonderful with transcendant melodies and very majestic lays and stories of times far gone. Of course, one could equally call this power metal, because while we have more black metal songs like Jökeln and Vildmarkens Förtrollande Stämmor, which are fast but melodic bits that will get your head moving while still possessing the arcane vibe this whole album has, we equally also have more power metal works like Asatider, with a wah ridden guitar solo, the title track, which has very little in the way of black metal growls, as well as Isjungfrun, which features lovely female vocals in addition to the powerful baritone of Andreas Hedlund. There's also the part in För Kung och Fosterland that rips The Hall of the Mountain King by fellow scandinavian Edward Grieg.

Really, this whole album dogs labels except the wonderful folk metal label. All that is irrelevant; it's all very beautiful music, and every so often we're treated to Hedlund's jaw dropping clean/dirty vocal combo, which when he does that, instead of one at a time, it floors you. The acoustic guitars are mournful and beautiful, reflecting a sorrowful tale that exudes beauty in its sorrow, as well as the the occasional flutes as well. The guitars, aside from the solos here and there (like on För Kung och Fosterland and Asatider), don't really do much except carry the melodies, so don't look for super technical riffs, they function as more of a background instrument. This is primarily vocal music, as the vocals, be they dirty growls, or the more predominant sung baritone, carry the music. And for this I'm glad Hedlund sings in swedish, because he's much more poetic in swedish than his more abstract english works, and the music flows much better than in later works when he sang in english.

Choice cuts: This is a hard one, because all the songs are good, but if I had to choose it'd be Till Fjälls, Urberget, Isjungfrun, and Fångad Utav Nordens Själ. Those songs are especially exceptional in their powerful delivery and narrative.

If I had to put it in a genre, it's Black Folk Metal, but it's also epic, and gentle, and crushing, and operatic, and many other things. Vintersorg's voice is phenomenal--transcendent even--a baritone like you've never heard before. He sounds like he rows a longship down the fjord to work every day.

Vocals alternate between "clean" (untreated, natural) and "black" vocals (a snarl/growl, for the uninitiated, sometimes treated with effects, which is a bit silly in Vintersorg's case, as the "black metal" vocal style is very mannered and normally used to conceal poor-to-nonexistant vocal training, which clearly ain't a problem for this Viking), with all of the real standout moments of the album occurring while he is in "clean" mode. Sounds like some overdubbing in spots (a la Enya), but it's great throughout. There's some nice female vocal on at least one track, as well for you Tristania, Lacuna Coil, Nightwish, Gathering, Within Temptation, Theatre of Tragedy, and SOTB fans.

The instrumentation, which is also quite competant, if not downright excellent, incorporates electric and acoustic guitars, piano, synth in a variety of relatively realistic tones mimicking clarinet, strings, horn, etc., and creating a feel at once bleak and intimate, often soaring and majestic, and perfectly complimentary to the voice, which is why we're here.

The production is unintrusive and unremarkable--it could be better, but it's excellent by the standards of the Black Metal scene (anyone who's heard much early Emperor, Ulver, Darkthrone, Mayhem, Immortal, etc. will know what I am talking about)--and about perfect.

Till Fjalls occupies an unusual position in Vintersorg's career. It's after the Otyg albums (I'm pretty sure) which are straight-out folk, more or less (and really twee and ridiculous in a few spots and a bit hard for me to enjoy). The next, Odemarkens Son, is also good, but is much more "metal" in a stereotypical sense, with solos, etc. By Cosmic Genesis, he's switched to Space Rock, almost, which is no major problem, but also unfortunately to English, which has less appeal, because even coming from someone who knows NO Swedish, the conviction with which he sings lyrics in his native language, and his ear for its sounds in terms of lyrical composition, renders his Swedish songs his best work.

He's also in Borknagar now; I think their new album is some of his best work (despite being in English--I'm sure the lyrics would be no less ridiculous in in some incomprehensible Scandanavian language, but at least I would be none the wiser). If you like this, get it, it's really well-produced and his voice is if anything even stronger. And if you like goth, heathen folk, or black metal (but are open-minded--"In the Nightside Eclipse" this ain't, in fact, it's far better), you WILL like this.

There are NO weak spots on this album. Vintersorg is an amazing musician, and this album has potential appeal even for people who think they can't stand Black Metal. I have listened to this dozens and dozens of times over a number of years and am not even remotely sick of it yet; even my wife, who is none too fond of metal, simply adores this.

Vintersorg's first release is quite different from most Folk Metal I have heard. While other bands sound like Metal with Folk sensibilities, this sounds like Folk with Metal added in. Don't get me wrong -- this is still Metal, and is quite heavy at times. But its tendencies toward soft and intricate parts are much more interesting in their originality.

Vocally, Hedlund sounds a bit strange when singing cleanly. He sounds a bit like he does not naturally sing that low. His growled vocals are on par with most Black/Viking Metal bands.

The guitars are quite good compared to most Viking Metal bands. The acoustic and electric guitars complement each other perfectly: rather than the songs clumsily switching between hard and soft parts, the transitions are very seamless, and often not complete, leaving chunks of the acoustic melody in the riffs. The songwriting here is impeccable.

The drums mostly come through clearly in the mix without drowning out the rest of the band. The drumming is interesting without being overcomplicated, and the drumming does not repeat between songs. I am no drummer nor connoisseur of drums, but this sounds good enough for me.

"Urberget, Äldst av Troner" is definintely a standout track, with a VERY catchy chorus at the end. It is quite similar to Battlelore's "Buccaneer's Inn" chorus. "Asatider" similarly sports a quite catchy chorus, as well as interesting soloing toward the end. "Isjungfrun" sports some excellent acoustic guitar which is complemented well by the electric guitars, retaining its atmosphere even during the heaviest parts of the song.

If you can speak any Swedish at all, you will soon find yourself singing along, and the songs will get stuck in your head. This is not a bad thing.

I would recommend this album to anyone who enjoys acoustic passages, folk music, or things which are quite different.

Not only has Vintersorg been involved in this really cool folk project Otyg, he also has his own solo project which is where he puts most of his energy these days except the mighty Borknagar. The narrowminded metal maniacs can have a sigh of relief, this isn't by far anything like Otyg, more like folk-influenced back-to-nature-poetry black metal. That may sound a bit weird but Mr. Vintersorg seems to be something of a freak when it comes to mother nature, judging from his swedish lyrics.

Musically as I said this is folk-ish metal, some flute and other folk elements, but then some blastbeats and "growling" also.. overall it has a slight black metal feel. As hinted I don't feel much for Vintersorg's growling - at least not here, it doesn't fit to this not-too-extreme style nor to the swedish language, but he has a much better clean voice which he uses really often so no worries. Besides he's much better at the growl in Borknagar.. or is it that it fits so much better there?

Anyhow this is a real gem of swedish metal, make sure you check it out.