Norway’s Vreid have been around for a while, spawned in some profane ritual from the bones of Windir after the tragic death of frontman Valfar in 2004 and featuring a steady line-up since 2010. On The Skies Turn Black the bandattempt to reinvigorate their sound after a period of turmoil, as apparent in the inclusion of callbacks to sounds from their past, as well as some forays into sounds unexpected.
The Skies Turn Black generally feels like the output of a band struggling somewhat with its identity. Vreid augment their strong backbone of melodic black metal with influences of heavy metal, thrash, folk and symphonic elements. Yet, while Vreid have penned an impressive selection of good ideas, riffs and melodies, most of which are involved in songs that didn’t manage to wow me in their entirety. Their successes and stumbles are as varied in nature as the albums influences and track list. My main criticism of the album is that it doesn’t congeal as a whole, which is an issue replicated in many of the songs themselves.
Standout moments include the strong riffing and tasty solo on Ozzy tribute “The Skies Turn Black”, the triumphant “Chaos” with its jangly, spooky intro which erupts into a thick and satisfying riff. It's a track that shows Vreid's ability to ride the lightning tightrope between melody and menace, combining the icy peaks of their black metal heritage with a newfound warmth and melody felt especially in the prominent and melody-driving bass presence. “Flammen” is also another standout, which makes excellent use of Norwegian vocals and offers a bombast-laden take on a mix of Tribulation and Kampfar.
Around the album’s midpoint, another excellent if somewhat off-brand highlight is provided by “Loving the Dead”, featuring an excellent guest performance by Djerv’s Agnete Kjølsrud who draws comparisons to Anna Murphy (Cellar Darling, Eluveitie) and Anneke van Giersbergen. The track's atmospheric, synth heavy midsection is more spooky than hooky, and could have been truncated somewhat. It does allow for extra punch in the track’s eventual climax, and the track as a whole is one of the most memorable on the album, even if it’s an odd fit. Other odd inclusions fare less well, with “Kraken”—an instrumental interlude that apparently holds significant emotional value for the band—feeling somewhat forgettable in an album that already struggles with momentum and cohesiveness. “Echoes of my Life” also attempts a reverb-soaked trip down memory lane, and while instrumentally pleasant the vocals feel flat and the lyrics awkward.
The Skies Turn Black's disjointed nature make it hard to draw comparisons or conclusions without a track-by-track and moment-by-moment breakdown. While it certainly has its high points, as mentioned, as well as a good production job featuring a welcoming warmth and a great bass presence, I am generally left somewhat puzzled and not entirely convinced by its end. The album clearly involved a difficult and emotionally involved writing process, and I hope they can channel this into a more cohesive and streamlined affair on their next outing.