Band:	Altari
Album:	Kr​ö​flueldar
Style:	Experimental black metal
Release date:	April 14, 2023
A review by:	F3ynman

01. Kröflueldar
02. Djáknahrollur
03. Leðurblökufjandinn
04. Sýrulúður
05. Hin Eina Sanna
06. Vítisvilltur
07. Grafarþögn

A new band has erupted from the Land of Ice, offering an unnerving, psychedelic atmosphere with captivating, experimental melodies and agony-stricken vocals.

In our digital world of today, we come across hundreds of albums and pass them by like pages in a book (or potato chips in a bag). Rarely do I find myself stumbling upon an album for the first time in the flesh instead of online. This album represents such a rare occasion as I discovered it by browsing the stacks of CDs in my local electronics store. My attention was immediately grabbed by the abstract cover art (which is apparently inspired by lava rivers). I had no idea what genre of music to expect, and I chickened out of buying the CD on a whim. But, as soon as I got home, I immediately looked up the band on Bandcamp, and the music that greeted my unsuspecting ears didn't disappoint me in the least.

Altari are a band from Iceland, a country which has over the last years sprouted an ever increasing arsenal of metal bands. Most of these bands are specialized in black metal, but some bands like Sólstafir and Katla. offer a more atmospheric, post-metal approach. Altari take inspiration from both black metal and post-metal ends, but also add their own unique, experimental flair.

The songs on Kröflueldar have a slow, doomy tempo throughout, meandering along with haunting riffs and expressive vocals. The blackened growls on songs like "Vítisvilltur" and the title track are palpable with feelings of desperation and sadness. On "Hin Eina Sanna", the demonically vicious vocals are juxtaposed with mesmerizing guitar leads that sound like sombre wailing. An amalgamation of guitar styles are displayed on Kröflueldar, from crunchy, almost stoner-like grooves and atmospheric tremolo-picking on "Djáknahrollur" to eerie, contemplative melodies on the concluding track "Grafarþögn". Altari's guitar-playing dabbles in gothic, doomy, post, and black metal styles, meshing these influences together into a unique and highly enjoyable approach — as can be heard, for example, in the unconventional-sounding yet catchy riffs on "Leðurblökufjandinn". The shortest song on the album, "Sýrulúður", displays the most menacing and dense atmosphere, which is simultaneously pervaded by the siren-like calls of a female vocalist.

As I soon came to realize, even though the album never really picks up the pace and sticks to its smooth rhythm, every song offers engaging melodies, simple yet effective drumming, and soul-wrenching vocals. The mix of all the instruments creates an almost psychedelic atmosphere, entrancing and lulling the listener with its enthralling soundscapes and soothing ambience. With such masterful production and an impressive performance, one almost forgets that this is the band's debut work!

In conclusion, I'm glad my eyes latched onto that abstract cover art in that store on that fateful day. Otherwise, I may have never listened to this awe-inspiring piece of Icelandic avant-garde. Altari should be proud of what they have achieved here. And with this great album to kick-start their career, I see a bright future ahead.