The 8^th album imparts an aesthetic vision of second wave style where the composition comes to life in a very cold and raw atmosphere blending the beauty of the piano passages on the opening track “Naar Taaken Tetner”. Through this formula of blending classic elements of Norwegian black metal the trio demonstrates a surrealistic work by interweaving tremolos with the chanting vocals of Trånn Ciekals (guitars) along with Faust’s (ex-Emperor) flawless drumming patterns. The guitars create beautiful landscapes as there are many breathtaking moments rooted in the folk black metal a la Ulver. Kvitrim’s harsh vocals cut like splinters of ice and they’re delivered in such an epic quality but this probably refers to why Djevel holds the spirit of bands like Satyricon.

The sudden avalanche of blast beats on next song “Kronet av en Væpnet Haand” captures the fierce Nordic fury that is instantly backed by relentless canons of Faust and sharp tremolo riffs. The majestic chants contrast with symphonic sections, as a result, the use of the blast beats and synth adds some notable refreshing variation. Djevel blends some majestic splendor and this truly gives “Naa Skrider Natten Sort” an awe-inspiring nature that somehow summons the haunting memories of the 90’s black metal. The composition on the other songs follows the same pattern of spellbinding the listener, from the furious blast beats to the atmospheric-laden sections that are found on the album’s title track “Naa Skrider Natten Sort”, bringing a unique combination of brooding synth and slow rhythmic guitar progression. This 11 minute song crosses sublime peaks graced by the beautiful bass lines and subtle soundscapes that paint a beautiful winter portrait.

Hypnotic, dark, and bleak landscapes convey the essence of Norwegian black metal art, and the guitars set a mournful mood through interweaving dramatic clean guitar passages. These dynamics and variations on the album are clearly on display although the most haunting element are the keyboards which are marvelously contrasting to the tremolo picked-riffs. The cover is well fitting in personifying the music’s bleak themes; this time, Djevel managed to add depth to the songs, and for this reason, the atmosphere significantly enhanced the slower sections. Though the magic of the composition creates a majestic feel on “Mitt tempel av stierner og brennende maaner” which has hypnotic and medieval folk melodies and it’s carried by the beautiful chanting that is reminiscent of Ulver’s debut album “Bergtatt”.

“I daudens dimme natt” opens with a blistering tremolo riff and furious blast beats. However, Djevel interprets its melodies by fusing the acoustic guitar textures. Kvitrim’s vocals are absolutely perfect, being harsh, evil, and mournful. The middle section of this song makes great use of the folk elements. Without sounding too lo-fi, the album’s production is crystal clear and all the instruments are perfectly balanced. “Afgrundsferd” goes more in-depth with the drumming being absolutely relentless and fast, the guitars are laden with sharp tremolo-picked riffs thus allowing the atmosphere to shimmer along with the occasional use of the synth that comes to the forefront.

Each instrument complements the other from the blasting drums, and the mournful atmosphere and the melodies are incredibly catchy. The album’s closure “Her visner hver en krans” opens with a majestic riff that repeats throughout the epic length of eight minutes. There are plenty of tempo changes as well as the fusion of the icy coldness of the tremolos and the shimmering synth, the song has some classic inspiration from the early scene of Norwegian black metal especially when the acoustic guitars are emphasized they capture the folk melodies of Ulver and the rawness of Satyricon.

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