(Here we have Daniel Barkasi’s review of the new album by Hulder, which is beging co-released today by 20 Buck Spin and Season of Mist.)
As notoriety grows and more ears pique in a band’s direction, it can be especially challenging to determine where they may go when a new album rolls around. This scribe is far from the type who demands all bands whom I have a fondness for to only reach a certain level of visibility – rooting against the success of a band you like is such a strange concept – though it’s safe to say we’ve all been left disappointed by a few bands we hold dear when a change in sound occurs.
I’m not going to get into the great Gaerea debate, but they’re a recent example who has invoked all sorts of discourse from all over the opinion spectrum – covered nicely in these halls – but you could see a shift in their case coming, whether it was welcome to you or not. The point is, evolution is unavoidable, whether it be purposeful or a naturally gradual shift. Standing still often equates to being left behind.
Which is where we come to the traditional black metal force known as Hulder. 2024’s Verses in Oath has thus far been a high-water mark, building from their heralded and raw-to-the-bone demos to that of the debut full-length Godslastering: Hymns of a Forlorn Peasantry, which is where the flame started flickering a little brighter. The Eternal Fanfare followed shortly after, aiding the already burgeoning reputation of this black metal traditionalist who wasn’t afraid to carve out a place in the vast history of this genre for themselves.
Coming back to Verses in Oath, it’s a record that we’ve thoroughly enjoyed, and has only grown on my sensibilities as more time was spent with it. Hulder hit the road hard in support of that record, and out of that extremely focused effort, the ascent has continued at an impressive clip. We caught them several times during that time period, with the latest being the Heart of Winter festival this past January, where the performance was a molten fireball of presence and passion.
Verbolgen represents the next phase for Hulder, with a brand-new nature-centric logo in tow, seemingly losing the traditional corpse paint, and a dual-deal with both current label 20 Buck Spin and Season of Mist. With these changes considered, we circle back to the question of just what are we going to get?
Worry not – Hulder isn’t fussing about.
A decidedly focused, carefully curated and bold step forward is what’s in store on Verbolgen. No abandonment of any fundamentals that brought Hulder to where they are can be detected, but there are tonal shifts. More pointedly, leaning in harder to already present elements that are at the spine of what Hulder authentically is. In short, this is thoughtful, impactful stuff that absolutely shouldn’t roll any eyes, but affix one’s gaze even more strongly.
Intro track “Dire Raven” sets the stage accordingly, harkening a firmly medieval air, complete with flutes, cymbals, hurdy-gurdy, and light strings to harness a reflective, somber note. Then “The Crowning” starts, blasting a fervent and infectious opening riff that makes my brain think of early Immortal and a little of Gehenna in the pulsating energy radiating off of Hulder’s guitar. The melodies are integral, acting as a jumping-off point several times as the song rides steadily forward, whilst a dreary atmosphere blankets like a thick fog. Added well-utilized clean voicings provide another purview as we move from harsher, guitar-driven segments to airy, calming, flute-centric pieces, but always coming back to Hulder’s blackened foundation.
We couldn’t have asked for a more vibrant start, and from here, several inflection shifts shape Verbolgen, but manage to be woven into what is a tapestry filled with depth and variance. “Thy Binding Oath” isn’t as fleet of foot, but is undeniably dark and accentuated by downtrodden melodies, never once losing focus throughout.
Comparable is “In Blood and in Earth” – gently howling winds and an acoustic medley add further folk soundscapes to what is an emotive and engaging song, measured with the right dosage of snarl to successfully walk a finely balanced line. Verses in Oath also did this quite well, but perhaps the disparity is a bit more stark here, complemented by an increased sense of confidence. In turn, Verbolgen is truly best viewed as a front-to-back narrative with many standout moments given along the way whose impact is increased when viewed collectively.
Satisfyingly cutting and vicious entries are of abundance, such as the biting title track and the merciless “…and We Shall Sing” – a raucous back-to-back shredding that’s hard to not be invested in with reckless abandon, making the middle of Verbolgen fierce and brimming with aggression. “Den nacht zijn lied” – roughly translating to “The Night’s Song” – stands as a highly versatile cut, drenched in ’90s black metal atmosphere and plenty of vigor, but also with gobs of melody that never feel out of place, and again, incredibly confident songwriting that’s impossible to not appreciate.
This is followed by another burning, raging monster in “View from Nemeton” to again show that Hulder hasn’t lost any vitriol – those deep growls, thumping drums, and a thick low end (bassist Necreon engraciates himself nicely) work in tandem with the contrasting and hypnotic clean voicings, melding the savage with the harmonious.
Interestingly, the drum duties are split between live drummer since 2023 Vapula and Vrolok of early Aeternus fame, which definitely adds up considering the definitive early Aeternus influence present, most notably within the balance of folkier elements and steely black metal intensity that echoes back fondly to …and So the Night Became. That’s one of the wisest and most astute features of Hulder’s music – the classic influences are laid bare and ripe for the picking, but all is written and performed with a distinctive personality that’s her own design.
Going back to the beginning of this review, the question of where Hulder would go was on the table, and it certainly has been emphatically answered – onward and upward, in terms of creativity, ambition, and undeniable dedication to the craft. Verbolgen decidedly uses increased folk and medieval elements to harvest a familiar sentiment to ’90s black metal, but thankfully doesn’t overindulge in the past, instead brandishing a singular roaring spirit that’s significant and ever-prevalent. There should be no debate about Hulder’s place in the black metal world; it’s been earned by way of tireless dedication and indisputable legitimacy, remaining as one of the most prolific and wisest curators wielding the sword.
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