My favorite aspect of metal is definitely the open landscape in which diversity thrives. With unending subgenres that also have subgenres derived from them, it keeps the genre interesting. It’s gotten to the point where you don’t hear too many albums that can be nicely placed in one genre. Bands are becoming more ingenuitive with their combinations so they don’t just rehash what has been done a million times before. Even some subgenres are getting stale like folk inspired black metal, death infused progressive metal, and technical death metal. There are still releases to love, but more often than not you have to dig deep to get something that pops with an understanding on how to grow on the respective subgenre’s sound. Tangent aside, we have quite the combination today from a lesser-known Icelandic artist in which I hope to help gain some recognition, Sjálfsmorð af Gáleysi.

Besides the name that makes me dread ever moving to a video format and inevitably butchering the annunciation, Sjálfsmorð af Gáleysi is yet another refreshing black metal project from the underground. Controlled by a singular mastermind, Gunnar Þrumi, the style of black metal delivered on his newest release, The Ruins of Eden, is difficult to pinpoint. Utilizing his extensive palette, Gunnar Þrumi dives into melodic and atmospheric black metal with elements of death metal, doom metal, avant-garde, and even dark ambient. Alone this may sound like a gimmick; trying to attract fans from each corner of the heavy metal spectrum. That whole theory is quickly thrown out the window with the tight, intricate execution that constantly manipulates each song in and out of the genres. Compositions are erratically evolving and devolving in a sometimes jarring manner that works exceptionally with The Ruins of Eden’s tone.

The black metal aspects are cavernous with claustrophobic blast beats that accelerates all the adrenaline in your veins. Tremolo picking intensifies at the perfect times and continues into the following transition momentarily along with beginning within the next segment providing solid transitions. Next to the black metal portions are many death metal elements from crushing riffs with compelling technical death metal switch-ups. Each guitar weaves between brighter melodies, dank distortion, and face-melting atonality that works in tandem for a more dynamic listen. The drumming is also fantastic with rugged bludgeoning and versatile rhythms that act as a subtle breather from the blast beats. Aside the fast-paced and manic cacophonies are brooding doom elements that slow down the pace without eliminating the dreadful atmosphere. Rigid riffs and drums pound at steady paces juxtaposing a feeling of gloom with the anger around it. Throughout are admittedly standard guttural growls and sharp shrieks that don’t go overboard to allow the instrumental nuances to prosper. All of this madness is swept up into a furious tornado and kept in control thanks to the crisp production that limits which instrumentals are the most prominent.

The Ruins of Eden isn’t entirely maddening. Moments of clarity are apparent, although rare. Most come up in the briefer tracks that are more of interludes. Although great on their own, they can feel choppy at points in relation to the record. They feel more like buffers rather than further developments, continuations, or segways. The opener “Nyctosynthesis” and “The First Sin” are exceptions to this statement with the prior building tension through hazy walls as a progression into the record and the latter with horn like guitars that provide a harrowing level of despair that is restrained compared to the rest of The Ruins of Eden. Near the end of the album, we are met with two tracks that are elegant. The title track has a breeze like flow to it with cymbals crashing at a smooth paces while beautiful acoustic guitars that evolve overtime into an echoing wonderment. Then we have the closing track, “Time”, that is a breather that feels needed to close out the final 11 minutes of this hour and fourteen minute behemoth. I love the atmosphere created that holds a minor amount of the melancholy from the rest of The Ruins of Eden without it becoming a crux to the majesty of the easy-to-digest guitars that fade away into transcendent pianos and organs.

Even with as many listens as I have given to Sjálfsmorð af Gáleysi’s The Ruins of Eden, I still feel like I haven’t been able to fully digest the countless compositions that fly by like a barrage of bullets. Mixing genres is nothing new, but the uncanny avant-garde arrangements and flows that teeter over into the realm of experimental are exceptional both to the senses and in terms of technical skills. Even with a few flaws, I could see this continuing to grow on me. Gunnar Þrumi is one hell of a musician, and to create such a work of art alone is nothing but jaw-dropping. Black metal is a genre of many niches, and it’s like he created a brand new niche in which black metal fans can adventure into and explore new sounds. In other words, this is sheer badassery that may not be fully digested yet, but has potential to grow with many more listens. Give this man some well-deserved attention on Bandcamp, and enjoy the madness.

Favorite Tracks: “Nyctosynthesis”; “Temptation”; “Abstain”; “Ad Inferos Abrenutio”; “Sanity Override”; “Adria”; “Divine Heresy”; “Lost”; “Harrowed be thy Name”; “Snake Eyes”; “The Ruins of Eden”; “Angel Without Wings”; “Time”

Rating: 8/10

Released: 01/16/2020

Label: Independent

Genres: Melodic Black Metal, Death Metal, Doom Metal, Avant-Garde Metal, Experimental Metal, Dark Ambient, Post-Metal

Remember this is all my opinion and I would like to hear yours. Love it, hate it, anyways I can improve on my presentation? Make sure to subscribe to the blog by WordPress or email to receive notifications of new reviews that come up. Who knows, you could find a gem you otherwise would have missed. And of course, keep being a music nerds!

RATING SCALE

Perfect Excellent Great Very Good Good Meh Disappointing Bad Horrible Pitiful Bottom of the Barrel