Band:	Narbeleth
Album:	A Pale Crown
Style:	Black metal
Release date:	January 05, 2024
A review by:	AndyMetalFreak

01. Pathways To Occult
02. A Pale Crown
03. To Step Beyond The Veil
04. On The Sight Of Dusk
05. Of Moonlight And Spirits
06. Witness And Provider
07. Their Ethereal Dance Through Mist And Starlight
08. The King Of The Shadowthrone [Satyricon cover]

Thirty years on, and the unholy Scandinavian black metal spirit lives on through Narbeleth. So, are you ready to start the year 2024 off like it's 1994?

Narbeleth is a black metal band that originally formed in Cuba back in 2008, although they currently reside in Spain, guided at the helm by founding member, vocalist and multi-instrumentalist Dakkar joined by drummer Vindok. Although not as prolific or renowned as other black metal bands from across the globe, Narbeleth have still managed to build quite an impressive back catalogue in their 16-year existence today, starting with their 2012 debut Diabolus Incarnatus and continuing on through to their sixth full-length release to date, A Pale Crown.

This latest offering sees the unholy duo kick-start the new year with the most traditional form of black metal possible. Simply put, A Pale Crown is trve kvlt through and through, a revitalization of the early 90s Scandinavian black metal scene. The album has a total running length of just under 45 minutes and features eight tracks (including a cover of Satyricon's "The King Of The Shadowthrone"), with lyrics based upon humanity being in contact with its primordial essence, as well as the more obscure elements of nature.

The album begins in a ferocious manner with "Pathways To Occult" (a very fitting track title), where straight away you're met by Dakkar's demonic blackened howls and shrieks, along with his furiously surging hypnotic tremolo picking, which is then accompanied by Vindok's ultra-frenzied blast-beats. The whole rhythm, tempo, structure and tone of this opening track is very much a representation of the Norwegian second wave. Let's just throw a few names your way: Taake, Satyricon and Darkthrone, they should give you a perfect indication of what to expect here. 

As the album progresses, continuing down the same old-school sinister route, there are several highlights worth mentioning along the way. The title track is undoubtedly the highlight of the album for me; here come richly melodic tremolos that gallop forth in epic fashion, led by a rapid relentless rhythm that's just as infectious and melodic as it is ferocious, and the blackened howls and shrieks become all the more passionate and aggressive. Although the album remains at a relatively consistent quality level throughout, without really dropping below a good standard, I'd have to say it never quite reaches the heights of this title track again after it's finished.

From here on, the album carries on ferociously and relentlessly, mostly driven by hypnotic tremolo riffs, almost sounding as if the guitar itself is shrieking in sorrow at times. The remarkable thing is that Dakkar acts as a guitar duet by himself, and despite never really venturing out of simple and traditional black metal territory (so nothing particularly complex, avantgarde or dissonant about his guitar work), he performs impressively to help resurface the tvue kvlt magic of old. The rhythm is sustained by an impressive drumming performance, as Vindok shifts from powerful frenzied blast beats to stylistic patterns that work hand-in-hand with the guitars.

The ferocity with which this album flows is relentless; however, there is a mid-section on the track "On The Sight of Dusk" during which the tempo momentarily eases off for a soft, gentle folkish acoustic melody. This is the only point at which the band steps away from the old-school black sound, and the second half of the track goes back to the usual fare, but it makes for a welcome change of pace. Another song worth highlighting is "Witness And Provider", which is noticeably different in that it opts for a more epic and melodic approach. The main riff melody is quite a memorable one, and the way it gallops alongside the rhythm makes you want to get up and headbang yourself senseless. 

Another thing worth taking note of is the production; although the songwriting and style is clearly traditional black in approach, the sound is less raw in quality than what a lot of the 90s bands had, instead being more in line with cleaner modern-day standards. Still, despite this updated sound, that closing Satyricon cover is a worthy effort and perfect send-off that pays homage to one of the all-time great black metal bands.

If you're looking for originality or a unique approach to black metal then I'm afraid you'll be disappointed; simply put, A Pale Crown is straight-up traditional black metal, just as blasphemous and unholy as it should be. If you're a fan of the old school sound and aren't looking for anything more, then you should enjoy this.