Although I never cared for this album, on several grounds when I first picked it up, I have found that with every passing day, and with every new listen, it grows upon me and furthers my appreciation for it. Initially, I simply could not stand the drums; I still am not completely sure if they are electronic or organic, but the fact remains that they are terrible, for the most part at least, and that they are, more often then not, very out of beat with the rest of the musicians (who I may add are exceptionally good). I suppose the way to listen to them is from a purely objective standpoint, and not from the that of a practicing drummer. The technical mistakes and lack of timing will be appalling otherwise. Instead, I recommend them merely as background noise, perhaps like war drums, to accompany the violent music. In this manner, they are much more tolerable, and even, to a certain extent, enjoyable.

With that, the rest of the album is simply amazing in every respect. The first song, which can be found on "The Night and the Fog" compilation, is very representative of Gontyna Kry as a whole; melodic, barbaric, violent, and very professional in regards to it's song structuring. The intro is a very dark guitar passage, with all the distortion removed so as to invoke that "clean" sound, accompanied, or rather supported, by an ethereal wall of synths. Quickly the song is brought into the BM realm, where the blast beats come in, and Kurhan's characteristic screams permeate the atmosphere. These vocals are no less than brilliant, and I often find myself pondering the hate and venom that went into the forging of them in the studio. This particular song has a wonderful melodic ending, which the listener will find throughout the album as a whole in fact, with some masterful guitars playing side by side in harmony... literally, they are harmonized.

Track two, again follows suit and opens with a very evocative, albeit simplistic and short guitar intro, followed quickly by the fuzzy distortion characteristic of the electric guitars on this album. It seems there is a subtle, yet entirely recognizable pattern to Gontyna Kry's song structure, which, although simplified, may look as such; introduction, played with clean guitar or a synthesizer followed by introduction of electric elements (guitars). About halfway through the song, one guitar breaks away and begins playing a faster, more violent riff. This is soon picked up by the other guitar, most likely harmonized in some melodic way with the first. Then follow the incessant beatings of the drums. This continues for an extended period of time wherein, the song may end, or a familiar chorus picked up. One may also find this interesting pattern to their music in virtually all of their demos. Although predictable, I find it very appealing personally, and it is part of what helps me define their music.

Song three is a very unique track, and very different from the rest of the album as a whole. It reminds this author of perhaps an ancient Celtic war song, played as the men are marching out into battle or something of that sort. There is only one guitar, and it is being accompanied by a sole synthesizer. Although hard to describe in words, it is undoubtedly one of my favorite tracks on the album.

Perhaps the most interesting bulk of the music on the whole album however, lies at the end, particularly, in the last three songs. These are perhaps meant as a "winding down" from the sheer violence of the former bulk of the album, as they, for the most part, are very somber, and melancholy. I remember one of them as having some distortion, or rather, the buzzing of a turned on electric guitar in the background, but that is all. The others are more ballads, with spoken passages, and very dark guitar accompaniments. Really, they must be heard to fully appreciate, and furthermore, to understand.

A very strong album, and as we will see later, one of their best even in the years to follow.

© 2002 orodruin