Dodheimsgard

The least one can say when one looks at the line up of Dodheimsgard, is that it is a Black Metal All-Stars Band, not the least. Aim a bit: at its formation in 1994, the group has members touch-to-all among others Darkthrone, Dimmu Borgir, Isengard, Emperor, Aura Noir, Ved Buens Ende, Ulver and Virus. The curiosity of all black people who respected each other, although at the time, the groups were not yet known to them. From the beginning, the surname Dodheimsgardh is retained. A meeting of three Norwegian terms, Død, death, Heim, the home, and Gard, the castle, it literally translates into "the Kingdom of Death", a name that says a lot about the theme of the group. Barely less than a year is enough for all these Black Metal art zeals to release their first album Kronet Til Konge , a work typical of the very essence of the practiced style. Everything is there, darkness, devastation, deep and visceral hatred, respect for the rules of art. The malignant already has Dodheimsgard, and he is one of his most applied disciples. Thus, from this first exclusive opus whose Norwegian metal has the paw, the group is already raised among the elite of the genre. Mayhem , Burzum and other Darkthrone , undisputed dictators of the elitist empire of black metal at the time, were then spoken of. Dodheimsgard did not disappoint, and repeated in 1996 with one of the most cult and influential objects in the history of black metal: Monumental Possession. The Norwegian black metal is here at what could be considered its peak. Everything here brings back to style, in its most primary and deferent form and the Norwegians here assert the personality of their project, that which will be its identity despite its subsequent evolutions. This Dodheimsgard character is on this Monumental Possession characterized by a confusing madness, beyond baroque. Primary violence is mixed here with a rare sophistication without understanding exactly how, or to what extent. It is with this album that Dodheimsgard becomes, without any doubt since its formation, an essential icon of the black metal scene, an absolute reference of the essence of style, the instrument of the devil in person. Dodheimsgard then released an ep in 1997: Satanic Art. Always turning around the theme of satanism, and between two sublime piano parts, this disc again offers a blackness and a macabre euphoria, sublimated by the unusual touch of which only the group knows the subtle recipe, a mixture of black metal trve and various unexpected atmospheres. After a strange truce, and its line up again modified the formation continues its path. Undisputed icon expert in the raw black, the beast Dodheimsgard decided to hit where it was not expected. Renamed Dodheimsgard for the occasion, the band, adorned with a completely new look (warpaints and costumes all in color), releases one of the most unexpected records the Black scene ever thought of. A true embodiment of evil, 666 international neglects the Black Trve of the beginnings for a completely unpredictable Black Metal/Indus. Like a Mayhem and his Grand Declaration of War, this record is a formal arm of honour on the stage and obviously disappoints all purists of the genre, despite its immense value, and opens up much more distant horizons to the group. After 666 international, it followed a long period of blur, where the group was given for death, pause, or intense reflection. Still it is that until the summer of 2006, no sign of life is perceived from Dodheimsgard . A discreet announcement is then made announcing the return of Norwegian training, under a line-up remodelled from bottom to bottom. Supervillain Outcast is then announced as the upcoming record and finally releases in spring 2007, signing a marked return to a violent and highly structured Metal. Several years of silence will follow this release, it will take until 2015 to see the Norwegians with A Umbra Omega.
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