Bathory’s penultimate album, “Nordland I” will have its 10th anniversary in 2012. It was the first of a projected four-album series, of which regrettably only the first two volumes were finished before Tomas Forsberg (aka Quorthon, and actually the only member of Bathory at that time) died in 2004. Not only does “Nordland” mark a return to Bathory’s Viking metal of the early nineties after several releases that were more thrash-oriented, the album also included more progressive elements now. To be sure, Quorthon also included elements of progressive music on my personal favorite, “Hammerheart” (1990), for example, in the epic “One Rode to Asa Bay” and “Valhalla.” The epic doom bombast of Bathory’s albums of the early nineties also characterizes “Nordland I” and “Nordland II.” In contrast to “Hammerheart” and “Twilight of the Gods,” however, Quorthon’s talents are more refined on these albums.

After an instrumental intro, the 9-minute title track sings the praise of the eponymous northern regions, taking you directly into Viking territory. The epic grandeur of “Vinterblot” is (nearly) unsurpassed, the perfect soundtrack for the Viking movie in your head. It is a bone-chilling retelling of ancient pagan sacrificial rites to bring back the sun in dark midwinter. The acoustic “Ring of Gold” serves as a sentimental moment of peace and quiet, before Quorthon takes us into the “Foreverdark Woods.” Medieval and folk influences strongly characterize this colossal masterpiece as much as the searing, stinging lead guitar which was typical of Bathory’s sound. After the battle tale of “Broken Sword” follows another one of the album’s highlights, the overwhelming “Great Hall Awaits a Fallen Brother.” Before another instrumental closes the album accompanied by the sounds of oars cutting through the waves and seagulls squawking, “Mother Earth Father Thunder” again evokes ancient myths and a heroic age.

Throughout his lifetime, Forsberg was criticized for not being a very proficient singer technically. That is something I don’t care about as long as the overall picture is consistent. And, Forsberg sang in so many differing styles, each adequate to the individual song, that I cannot but regard such criticism as irrelevant. On the “Nordland” albums he achieved this more than ever. What to expect: Bombastic sound, vast choruses, influences from medieval and nordic folk music, pathos-laden lyrics about battles and nordic myths as well as the awe-inspiring landscape. Epic, anthemic songs to bring out the Viking in you.

by artistxite