In a world of weakness and failure, Australian black metal mystery Runespell–created, composed, and visualized by Nightwolf himself–stand strong. An unknown quantity above the lowest echelon’s of Hell, Nightwolf has mastered the art of mid-to-late ’90s black metal. That is to say, dark musical art of the lo-fi, abrasive, hateful, and atmospheric variety, informed musically by underground warriors Falkenbach, Striborg, and Urgehal but purveyed with the spiritual impulse of contemporary fighters Woodtemple, Hellveto, and Sargeist.
Having called off interviews with the press for ages, Nightwolf’s greater musical and thematic intents are unclear, but if his music is the voice and meaning behind it, then expect an atavistic approach, where the comforts of modernity and the reliance on technology are shunned for simpler and less gray life-view. One spin through new album, Voice of Opprobrium (Iron Bonehead Productions), and Nightwolf’s interests are clear as the cold night sky. There is no pretense here. There are no fictitious attempts to make black metal any darker. Or, of even contrast. From the introspective acoustic pieces to the all-out violent hate to the chords of cerulean melancholy, Runespell are black metal from and for homologous times.
Says Nightwolf in a rare display of public voice: “Voice of Opprobrium stands as the burning sword of defiance and revolt against the modern world. Six hymns summoned to echo the sacrifice of ancient blood, buried beneath battlefields stained in rusted iron and broken shields…”
NOTE: To cycle through Runespell’s Voice of Opprobrium, hit the arrow keys on the player.