#algleymi

MISÞYRMING

[Algleymi, Black Metal, Iceland, Norma Evangelium Diaboli, 2019]

Iceland’s Misþyrming have been making waves within the online black metal underground since their debut album’s rather lauded release in 2015, an album that didn’t exactly need to break any new ground or hoist itself onto the quickly tiring shoulders of cheap gimmickry to carve out a nice space within the modern black metal landscape for the band to work in. Though not the most aesthetically original album, the band’s debut showcased an at least respectable proficiency with both the grand, cinematic black metal composition of forefathers like Emperor as well as the naturalistic atmospheric approach of more modern bands like Wolves in the Throne Room. And the group’s sophomore effort is largely a continuation of what their debut offered, with a few minor, but beneficial adjustments being made.

Like its predecessor, Algleymi is carried on the backs of mostly its full-bodied tremolo-picked guitar atmosphere, but also its consistently quick drumming and relatively modest bass work that work well to provide the strong foundation for the band to be able to swim around so fluidly within the atmosphere they conjure. This team-based compositional approach really gives the stamina they need to get through the longer heavy atmospheric cuts like “Með Svipur á Lofti” and “Allt Sem Eitt Sinn Blómstraði” the band seem to be developing a bit more of a knack for direction with this style of composing than what they presented four years ago on their debut, with the transitions between sections coming more naturally on the songs here and the band just showing a bit tighter chemistry on these tracks than of those on their debut. The closing title track I think is possibly the prime example of this compositional growth with its numerous shifts that the band glides through so smoothly.

I also really appreciate the extra oomph vocalist “D.G.” seems to put into his performances, not content to simply go on black metal vocal autopilot, D.G. adds a healthy amount of guttural rumble to his animalistic screams the often make them more reminiscent of death metal. While the band do seem most inclined to channel streams of swirling guitar leads and fast-paced percussion into more atmospheric wholes, I quite enjoy the more classic-heavy-metal-influenced and guitar-centric instrumental work of the song “Og Er Haustið Líður Undir Lok” that allows the guitar lead to shine and the building harmonies to grow into a more fully immersive atmosphere.

Algleymi may not be the biggest step forward for Misþyrming, and considering it’s come after about four years since their first full-length, it might be a tiny bit disappointing in that regard. But the Reykjavík-based band didn’t exactly start out as roughly as most new groups usually do, so they didn’t really need to make the kind of progress that most bands often do from their first record. That’s not to say Misþyrming can’t still get better. I mentioned that that band don’t really differentiate themselves all too much aesthetically from their influences and contemporaries, which isn’t necessarily something they absolutely need to worry about, but if they really hone in on their strengths and take them even further throughout the black metal wilderness, they might just find a little niche to grow into and build even more from. If they’re content with where they are stylistically, that’s totally fine too, I dig their sound, and I’m eager to see them continue to build their chemistry as they did on this album.