Natt til ende, the final installment in a trilogy of what can only be described as some of black metal’s finest titles, is now upon us. First, 2021’s Tanker som rir natten was hailed as a flawless record. Next, its 2022 follow-up, Naa skrider natten sort, received a coveted Spellemann / “Norwegian Grammy.” I rightly rated that instant classic a 10/10 at Metal Injection and repeatedly sang its praises, as perhaps the first apolitical and sane writer, at MetalSucks:
“Unfortunately, the fact that Djevel’s Naa skrider natten sort is one of the GREATEST black metal albums of ALL TIME is not up for debate.”
I believe the very first to recognize the brilliance of Djevel’s current trilogy, however, and, without a doubt, certainly the loudest constant advocate for them has been leading music historian, curator, and author Finn Håkon Rødland, one of the most important figures in the scene. Thus, we send our hails to Rødland for always being ahead of the curve and steering ears in the right direction, whereas so many mags are busy pointing listeners toward unoriginal trash or whoever paid for ad space. With Natt til ende finally on our speakers, we can affirm that it represents yet another unblemished masterpiece.
After all, what would one expect? Natt til ende could only be the epic triumph we were certain it would be and more. Rarely have I been so sure that a title would equate to a flawless scorcher. Indeed, Djevel leaves no room for doubt. Ex-Ljå’s Ciekals, Djevel’s founder and composer, has been nominated for an Edvardprisen, a most prestigious recognition, and definitely should have won.
No, awards aren’t everything, far from it, but Ciekals’ nomination serves as an indication of the reality that Djevel is a band whose brilliance cannot be denied even by those who do not necessarily understand black metal.
On Natt til ende, Ciekals expertly handles guitar and synth. Also providing poetic glory, Ciekals penned the following of his newest opus: “This last chapter is my manifest of the final ending of christianity and death of ‘Jesus’, in both physical and mental shape. Naturally this also lifts the idea and concept of forces christianity calls evil. The same forces I would call natural and human. They may be described as in a dream or in a more harsh speech.”
A friend of Ciekals, ex-Emperor’s legendary Faust, who places among metal’s very best drummers, has been part of Djevel since 2017 and first appeared with them on Blant svarte graner (2018). Of course, Faust wows us with all of the dazzling precision and finesse that we expect of him. An immortal hero of the ’90s, his contributions come across as highly refreshing in light of their impeccable character. While many national treasures dull with time, the opposite has been so with Faust.
From the trilogy’s start, Ciekals and Faust have been joined by one of the genre’s top vocalists, who, with a dual role, also provides his expertise on bass: the venerable Mr. Kvitrim of Mare, Black Majesty, Dark Sonority, Vemod, ex-Kaosritual, Grenjar (We don’t say “ex” here because Rødland informed us of the joyous news that there will be more to come…), and so forth. Kvitrim is regarded as a key architect behind the internationally beloved Nidrosian Black Metal movement.
Clearly, Djevel has come to resemble a supergroup, though this fearsome entity has always included a cast of esteemed and successful permanent musicians, whether Koldbrann and now Craft’s Mannevond, who, until recently, continued on with them in concert after his studio departure; Hjorth and Erlend Hjelvik, famed mostly for their past achievements with Kvelertak; or ex-Gehenna and ex-Enslaved’s Dirge Rep.
From Mare’s Nosophoros to ex-Sarkom’s Eirik Renton, who just might have partaken in Norway’s pre-Eurovision competition as a, yes, pink flamingo, Djevel has boasted incredible pieces of strictly live artillery. The group’s producer and engineer, ex-Haust’s Ruben Willem, has likewise played in concert with them. A word to the unenlightened: The offerings to which Willem has lent his excellence behind the console have earned 10 Spellemann nominations and 3 wins. Truly, Willem is yet another one of Norway’s best.
Needless to say, on Natt til ende, each of Djevel’s veteran artists gives a stellar performance. The merits of their work are glaringly self-evident. From the opening track, “Bespottelsen,” the first single, Djevel steals the win. This number is surprisingly accessible for an uncompromising outfit, perhaps because, again, Djevel is of such a caliber that no one can deny their excellence. Seamlessly melding beauty and brutality, the hellish with the ethereal, and spellbinding us with mystical charm, Ciekals possesses all the worth of a classical composer, and indeed he is an admirer of the genre.
Yet again, with Natt til ende, he brings honor to Norway while summoning to mind all of the most gorgeous and majestic paintings of Scandinavian nature in its moonlit splendor. Intoxicating melodies and addictive riffs transport us. In addition to overwhelming us, Ciekals allows his songs to have the ideal amount of breathing room in the right spaces, enhancing their overall effect. For this, as well as the record’s balance, we must furthermore thank Willem.
Throughout Natt til ende, Kvitrim obviously delivers sublime vocals, low, utterly menacing, and wonderfully controlled. This king of his craft reigns with complete authority. Yet, he also lets out truly bestial screams and growls that convey the truth of abysmal agony and despair. “En vitner efter kommer” benefits from a sprinkling of vocalizations that resemble those found within the realm of suicidal black metal. Another such brief moment arises after calming chanting on the last track, “Natt til ende,” for example, thus reminding us of the meaning of the nice Norwegian word “Selvhat” and providing a nice contrast to when Kvitrim’s tone on that opus is declamatory.
(Let it be known that the sprawling “Natt til ende” is a very special and magical piece that actually made its premiere live on November 11, 2023, at Oslo’s Parkteatret.) Kvitrim breathes both fire and ice, and “Jesu lidelse” contains some theatrical vocals that, at least to me, seem a bit reminiscent of Vicotnik’s. And yes, Djevel’s aforementioned chants, which arise every now and then on the record add much depth to the music.
Of course, keys are masterfully implemented. The penultimate gem, “I skovaandsfavn,” is a piano piece that commences with the rustling of wind and features other atmospheric touches, as the sound of crows and spectral echoes. Leaving much to the imagination, the subtlety of the effects is appreciated. We must note that this composition is preceded by the album’s second single, “Under nattens fane i fandens prakt,” which proves extremely fun and catchy, despite its gravity and more somber components.
Verily, fans abound who have stated that Djevel is the most exciting act in black metal right now. In addition, however, I have always suffered from the compulsive need to likewise champion the timeless art of the fabulous Sir Niklas Kvarforth and his Høstsol co-founder, the pioneering hero Tor-Helge “Cernunnus” Skei. Why do I mention this?! Well, this year, Aftermath Music unleashed Manes’ lethally magnificent EP Pathei Mathos as well as the full-length Slow Motion Death Sequence Remixed. Before that, they released Manes’ miraculous two-song single Young Skeleton (2020).
While Manes, of which Cern is the driving force, has morphed into an experimental entity that stands beyond all stylistic labels, they are regarded by the likes of Sir Kvarforth as having been the best in the genre for their unsurpassed early victories — Cern continues where he left off in Manii and astounds us with his black metal supremacy by way of Syning as well.
Throughout their career, Manes has always reflected the highest level of genius. Thus, we can safely assert: Aftermath has turned out three of the top offerings of 2024 and only partners with the greatest, so go and support their label, or receive repercussions from me. Also, make sure to keep an eye out for Kvitrim’s new supergroup with Cern: Diabolus, mecum semperterne! Their debut is sure to amount to another masterwork.
Verdict: More Spellemann material!
(Purchase Djevel’s Natt til ende from Aftermath Music here.)
