Atmospheric ambient with classical edges, influenced by what happened in ancient Scandinavia.
- Mod Lindisfarne
- Sejlende gennem dybe dale
- I krig
- Slaget som varede evigt
- Stormende mod fjenden
- Tårnets krigere
- Mit hedenske blod
Bonus tracks (Previously unreleased)
- Near UFO
- Mit hedenske blod (Tor Brandt Remix)
The original release was limited to 200 copies
1.Mod Lindisfarne (Towards Lindisfarne)
This track features a very gloomy, monotonous melody that seem to envision a threatening host coming ever closer. Listening to it, you seem to realize the waves of destiny that brought the Viking ships to Lindisfarne, to unleash their fury on the Monks, followers of «Kvitekrist.»
2.Sejlende gjennom Dybe Dale (Sailing through deep valleys)
Here we can hear the sound of a tremendous, looming nature, ever reminding us of the insignificance of men and their pathetic wars. In the background of the main melody, being of strokers, we hear the sea be plowed by the ships bow, and a drum being beaten to a constant pulse. As if of the very heart of Utgard itself. Then, military style, a short duration of sharper drums follow, and we are back at the beginning and the song ends. Many interpretations are possible here, mans war against nature, nature gathering her forces, or perhaps even the Norse as representatives of what is healthy and natural.
3 I Krig (In War)
This very progressive track gives us the sound of violins that develop further and farther as the song progresses. War here is maybe not viewed as something negative, but as something developing, following the course of blood. The violins stop abruptly, as if the hear of the warrior stop beating.
4 Slaget Som Varede Evigt (The battle that lasted eternally)
At once we are taken into a rhythmic, hypnotic melody going very deep. Clashes of forces are shown here, with ill boding sounds in the background, followed by a reassuring, epic tune. Truly, this must be the forces of chaos and order meeting each other, to negate each other at the age of Ragnarok Halfway through the track, the melody becomes more intense, more all consuming in it's presentation. A single stroker is added to the background. The looming sounds, followed by reassuring ones, get more underlined at the end, until it all fades out.
5.Sværdet (The sword)
Flutes initialize this song, then strokers are added. First violins, then a cello.Then the progression starts, with bells, as if dwarfs are imbuing magic in their items with their hammers. The whole thing grows more and more intense, a trumpet, harbinger of glory is heard in the background. To the sound of bells..the track fades out. This is one of my favorites.
6.Stormende Mot Fienden (Storming towards the enemy)
We are thrown into the fray by a typical horror movie organic play, that seem to go up and down and linger. Where did the glory of combat go, the natural call of thy blood? Here we are thrown back into a harsh reality, where young men, tender flesh, are open for the embrace of cold iron. Where is the tranquility in their death screams, the peace in their twisted faces? Nowhere. A drum of doom hammers this down at the end, along with ill boding symbals.
7.Tårnets Krigere (The warriors of the tower)
Compelling, indulging, a melodic beat starts this one of, with bells chiming a curious tone if the aftermath of it's wake, over and over. Then it starts, a cosmic, strung played melody that seem to bring you far out into dimensions undreamed of. The might of these warriors cannot be perceived by mere humans, and the secrets they guard could be the foundations of the world itself, the keys to existence. Something tells me that even Wotan himself would have second thoughts of entering this spiritually enchanted place. An additional edge of horror is reached with scary sounds at the back of the cosmic strings. And it ends....One of the best tracks I must say.
A very sad melody are followed by cosmic sounds, as if a god in torture an loneliness in the uttermost of space. Mechanical, if not digital tunes seem to be the electric impulses that flows through his brain. They increase in intensity, until strokers bring us back to the vantage point. To create, but still be what you are. This reflects the creator of the music.
9. Mitt Hedenske Blod (My heathen blood)
This song starts with a drum, accompanied by a heavy church bell, and several small ones. Their speed is lessened, only to give room to a contemplative bell play. Maybe the creator of this track wonders about his purpose? Strings follow, in an impressive, medieval style sound of wisdom. Very playful, this is the track that stands out the most from the other material. The drum signify a heart, either of the individual, or at a larger scale, that of the pulsating north. The little bells gives the impression of a coldness, further envisioning this view. After a time, with the strings accompanying it, the drums come back, more powerful now. The hear beats harder, as if wakening up from a long sleep. Strokers take over, giving us an epic feel to it all. The strings come once again, concluding a very powerful Nordic message. Good.
10.Vintersolverv (Winter solstice)
A depressive tune starts this one off, that lingers and go deeper, repeating itself monotonously.. In addition, cosmic sounds come, as if the electric surges in the brain of a lonely creature. I visualize a lonely man wandering over a desolate tundra, lost in the vastness of his own contemplative. Thoughts. A singe violin comes to play, augmenting the already lonely feeling. Far into the background, strange metallic sounds can be heard, barely audible. The melody stops, leaving only these to play as the song ends. The industry of humans, or the mechanization of our souls can be the interpretation for this.
This review is a typical case of poor timing. The person who, when hearing the name Nattefrost, thinks of the wet season in which the wind blows cuttingly through the leafless trees while mother is waiting with a steaming mug of soup for her husband who is ploughing through meters high snow longing to close his arms around the apples of his eye, especially the youngest who is seriously ill, and who desperately needs the medicine he is clutching in a half-frozen fist … that person is not mistaken.
However, it will be the middle of summer when you read this review and the effect of Nattefrost’s sombre and tardy EM has much less impact during a heat wave. Therefore, store these two releases in the fridge until autumn. Then they can enhance the feelings of depression, so characteristic of this awful season. In particular, "De Som Sejrede" will be very effective in enhancing the feelings in the cesspool of the soul because the electronic waves of despair will flow slowly through the lacerated emotions without ever degrading to ambient.
So, the salvation of falling asleep is not available to the poor listener. Good luck!
André de Waal / SonicImmersion.org
With "De som Sejrede" Bjørn Jeppesen aka Nattefrost takes you on a journey to gloomy Nordic landscapes by means of ambient, classically-influenced electronic sound. Whereas his 2004 EP called "Vejen til Asgård" featured some rhythmic berlinesque material, this album, released during the same year as "Vejen.." is focused on beatless, flowing, dark passages, where symphonic keyboards and epic Scandinavian atmospheres play an important role. There is, however, some rhythmic movement present on some tracks in the form of slow electronic pulse.
Such is the case with the opener "Mod Lindisfarne" that features a repetitive brew of a low, grumbling sequence and mysterious pad melodies.
"Sejlende Gennem Dybe Dale" is a dramatic symphonic keyboard number, complete with slow marching drum and strange rain-like effect. Talk about doomy!
We then get "I Krig" that sounds as if it came straight from Endura's "Black Eden" album (the similarity to the opening chords of "The Devils Stars Burn Cold" is striking!) Ok, so you have guessed it's a dark symphonic anthem, and a very good one at that, although clocking in at under 2 minutes it's too short.
"Slaget Som Varede Evigt" is based on a low electronic pulse which is complimented by all manner of cold atmospheres and effects.
"Sværdet" is a string-heavy number that sounds like music accompanying a suspense scene in a thriller movie. However, some vibraphone notes that appear a bit later into the track are a bit at odds with the atmosphere of the track and the album as a whole. Curious stuff.
"Stormende Mod Fjenden" is a frosty ambient number. One might easily think of the long polar night while listening to the recurrent atmospheres herein - dark, snowy, windy landscape captured in sound. The stomping funeral-like drums do not add any unnecessary brightness to the proceedings.
"Tårnets Krigere" is an urgent sequency track, but somewhat sparse and reflective, even mysterious.
After a brooding and anthemic interlude called "Nattefrost" we are treated to a track ("Mit Hedenske Blod") that would again serve as a great epic movie soundtrack, with marching drums, bells, symphonic arrangements, some electronic harpsichord and surprisingly enough - that vibraphone tone again.
"Vintersolhverv" is all about dark, gloomy atmospheres that conjure up a frosty, desolate landscape.
Overall, "De Som Sejrede" is a pretty cinematic experience. I enjoyed it, although the album is a bit lacking in focus. Nevertheless, highly recommended for fans of atmospheric EM, Ambient and dark symphonic anthems.
Artemi Pugachov / Encyclopedia of Electronic Music