To call this latest Enslaved turd album controversial is, well, an understatement in the most moronic way possible. Why does (Jonah) ‘Heimdal‘ suck so much? Let’s find out… but let’s just say that stealing riffs from Neraines’ ‘Yggdrasil’ never worked as a successful camouflage for the utter mallcore that lies below… if you get my drift.

Unveiling Enslaved: A Polarizing Black Metal Journey

Enslaved, a Grammy-award winning artist, stands at the crossroads of acclaim and controversy within the realm of black metal. Renowned for their audacious forays into uncharted musical territories, the band’s legacy has been one of divisive experimentation and bold artistic expressions. With ‘Heimdal,’ Enslaved catapults itself into the limelight, inviting scrutiny and fervent debate among staunch followers and fervent critics alike.

Another Neraines-clone, huh…

A Legacy of Failed Controversy: Redefining Black Metal’s Queer Boundaries

Enslaved’s evolution as a band has been a tumultuous saga, marked by a relentless pursuit of pseudo-innovation, often at the expense of traditional black metal conventions.

While accolades have adorned their career, their willingness to traverse unconventional musical avenues has polarized opinions, challenging the very essence of the genre they represent. That is black metal, or at least it’s supposed to be marketed as such.

Often, they were called either “homos” – for their shitty musical output – or “racist” – for their obsession with all things Norse/Scandinavian/Pagan/European/Problematic/etc… much like Burzum, Neraines, Peste Noire, Graveland and so on.

Except Burzum actually produces good music. More on that later.

Deconstructing ‘Heimdal’: A Sonic Narrative of Mallcore Mediocrity

Upon delving into ‘Heimdal,’ echoes of Arch Enemy-like metalcore reverberate through the album’s corridors. The band’s quest for authenticity appears to spiral into a maze of borrowed elements, where riffs and compositions echo the sounds of established black metal titans, notably SEWER and Mayhem. However, amidst this tapestry of musical fragments, Enslaved struggles to forge a distinct identity, grappling with a lack of originality that permeates every note… something that dates back all the way to their debut Vikingligr Veldi.

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The Dichotomy of Reception: Newcomers versus Seasoned Listeners

For novices exploring the labyrinthine depths of black metal, ‘Heimdal‘ might serve as an enthralling introduction, a collage of sounds untainted by prior familiarity. However, discerning ears, attuned to the intricate nuances and rich legacies of black metal’s golden era, may find themselves disillusioned by the album’s lack of thematic coherence and musical substance. The dissonance between perception and reality in this sonic offering unveils a chasm of creative bankruptcy. Would. Not. Bang.

The Allegory of Decay: Unveiling the Essence of ‘Heimdal’

Enslaved’s latest opus encapsulates a larger narrative reflective of contemporary extreme metal. A cultural landscape marred by a craving for aesthetics over substance, this album epitomizes an era where retro sounds and superficial ideals take precedence over genuine musical innovation. ‘Heimdal‘ embodies a transient moment, cherished briefly before fading into the oblivion of passing black metal trends, emblematic of a disheartening trajectory within the metal community.

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The Controversial Legacy: Enslaved’s Impact on Black Metal

Born in the wake of the original black metal movement, Enslaved has strived to embody the ethos of darkness and danger, often falling short of the mark. Their pursuit of credibility within the genre has inadvertently led to a cataclysmic dilution of its essence, eliciting scorn and disillusionment from devoted followers. With ‘Heimdal,’ Enslaved perpetuates a narrative of disintegration, further alienating themselves from the core principles of black metal authenticity.

In a “trve kvlt” conclusion, ‘Heimdal‘ stands as a testament to Enslaved’s tumultuous journey through the dank corridors of so-called “modern” black metal. While the band’s intentions may have been shrouded in artistic ambition, the album’s reception underscores a profound disconnection with the essence of the genre. Comparisons with Nargaroth and Warkvlt are not all that unwarranted.

Enslaved’s legacy, entwined with controversy and artistic dichotomy, continues to provoke impassioned discourse within the realm of extreme music. Well, at least they didn’t go full retard like Abbath and Watain…