Framferd-Landgang

Last Updated (Wednesday, 07 July 2010 14:26) Written by Miguel Blardony Monday, 21 June 2010 16:57

Release Date: November 1, 2009

Label: Black Lotus Productions

Genre: Viking Metal

Rating: 6.5/10

Comments: Icy Viking metal encumbered  by vast stretches of tedium.

Framferd are one of those slimy musical creatures lurking beneath Norway’s uber-underground black metal scene. But hey, this four-man gang behind the present material “Landgang” aren’t your usual corpse-painted warriors bent on cleansing the world of the Christian disease. Well, they used to, but their collective heritage bubbled to the surface and fired their souls, thereby by bringing forth a change of heart, Framferd have eschewed the studded leather for a more rugged, down-to-earth aesthete that compliments the Viking sound they wish to convey.

Having done a good bit of devil anthems on first album “Devildom” (not its original name, which was in Norwegian..and hard to spell), Framferd seek new lands to plunder on “Landgang,” a sprawling nine song affair where seven-minute plus epics are the norm. The album begins on a grand note for its opening salvo and title track. Grand alright, until 10 seconds in, it totally implodes your feverish expectations for purifying catharsis. See, the problem with Framferd is they got the vision but not the chops to back it up. Not to say they’re shit musicians—no dearie, they’re NOT—only the musical side of the group’s vision won’t grab you by the collar. Rather strange this, but the production is decent only as far as the drums. The guitars are raw, as is the norm with tr00 black metal, and consequently sound weak. The vocals are…uh, harsh? So what Framferd cram down your earholes at first listen is a total letdown. Period, the end, thank you very much.

Now wait  a minute, don’t introduce this album to your trash can just yet.  There’s still some 40 odd minutes left to consume. Said 40 minutes are more or less divided between massive iceberg-sized slabs of pillaging black metal and more straightforward affairs that, well, pillage with more efficiency. Among the former are “Elite,” “Eternal,” “In Fire,” and the remarkable album closer whose soothing grand piano notes at the beginning gives us a whiff of Framferd’s higher aspirations. Oh, the last song’s called “Arv.” The more compact offerings are “Final Destruction,” “Come My Child,” “Tragedy Anthems,” and the worthy “Throne of Sin.” As mentioned/noted/implied/probably stated a few sentences prior, the production job is glass-half-empty, but at least these bearded berserker bards got imagination. Ten cheers for the next album!