Review: “Fires In The Fall” by Krigsgrav

Inspiration comes in many shapes and forms, none of which should be discredited when it comes to the creation of something truly special. Named after a poem by Robert Louis Stevenson, “Fires In The Fall” was recorded between December 2022 and March 2023 by Texan atmospheric Black Metal trio Krigsgrav (“War Grave” in Swedish) in follow up to the 2021’s Melodic Death Doom soaked “The Sundering“. Writing sessions are said to continue immediately after that album was completed as if the band never left the studio, something which the band state gives it the feel of a double album. Mixed and Mastered at Wolfthrone Studios by Owe Inborr (Azaghal, Ondfødt, Kvaen) and adorned by artwork from Cameron Hinojosa (Realm Drifter, Mountain Of Smoke, Khemmis), the promise is of a record that illuminates beauty within the world’s darkest shadows…

…having spent approaching two decades together, an album which explores further their foundation of brooding Black Metal and Melodic Death Doom, pushing genre boundaries yet further apart in doing so is like opening up Pandora’s box. It’s reliance on the concept, the interpretation of the source material and its representation of the mysticism behind the changing of the seasons from Summer to Autumn a curiosity as much as being the glue that holds it all together. The stirring of senses begins with “An Everflowing Vessel“, a melancholic soundscape soaked in Scandinavian influences embellished by demonic vocals from Coleman that tear a hole in the space time continuum. The flow of the music is phenomenal, the musicianship impeccable, the time and dedication to this project being richly rewarded with spellbinding results. It’s the intricacies that make it really special and will make you want to return time and again because there are moments that the brain can not compute with just a couple of spins, too pre-occupied with enjoying what you just heard to take on the next moment.

Immense power is found in “The Black Oak“, the melodic lead guitars an absolute joy and a stunning contrast to the caustic vocal performance, a sense of epic grandeur and majesty that Krigsgrav are able to conjure astounding. Almost tribal percussive battery from Sikora at the start of “The World We Leave Behind” is the Chef’s Kiss, fading into a more traditional Black Metal orientation as it orbits the lyrical flow. Permeating the instrumental parts with lung busting moments of pure venom, the kit work is then surpassed by face melting extended solo to die for despite the sombre and sobering narrative that holds it all together. Contrasts couldn’t be further apart and yet closer together if they tried and here the adage that opposites attract is the absolute truth. “In Seas of Perdition” finds the band increasing the intensity and energy for something shorter, faster and more aggressive but with just as much dark beauty crammed into it, the spoken word moment at in the final minute leading into a solo which has to serve as the coup de grâce.

Mid album cut “When I’m Gone, Let the Wolves Come” has been chosen as a sacrifice from the vinyl editions of the album, which is a shame as it’s another impressive affair that is just as vitally important as the other cuts to make the grade here. It has a majestic piece of soloing in the centre that finds the band ascending to another realm of existence entirely as they play with some Progressive Metal inspirations in the extended instrumental parts. Rising from the black depths for the final onslaught, restless and relentless blast beats accompany the savage final verse, the kind of crescendo that is worthy of a grand venue of rich heritage to perform in. Perhaps the biggest surprise on the album is the presence of former vocalist Chris “Blutjäger” Sweigart on “Shadowlands“. He exited stage left after 2010’s debut album “The Leviathan Crown” and here adds a gripping sense of nostalgia with his performance as the band intensify their Black Metal output for a near eight minute cut of razor sharp riffs which take us on a journey to the depths of Hell itself.

Earworm riffs then wriggle their way into the cerebral cortex with “Journeyman” the kind of powerhouse that lights a thousand fires. Another seven and a half minute epic, it captivates in enthralling fashion with some incredible almost cinematic moments to accompany some of the throat shredding vocals. At this point the soundscape follows the moment you might usually associate with classical music, a level of pomp and circumstance in Black Metal lingering just below the surface. Grand finale “Alone With the Setting Sun” doesn’t let up any of the quality, refining what has come before it into a single magnum opus that surprisingly and refreshingly has some riffs that sound like they belong in the Trivium playbook. That’s not a walk of shame by anyone’s standards and Matt Heafy’s love of this genre is the reason that the two reflect in the mirror, nothing else. A tour de force of what the band have to offer and a genre leading album, this is a mesmerising thing of beauty [9/10]

Track Listing

1. An Everflowing Vessel
2. The Black Oak
3. The World We Leave Behind
4. In Seas of Perdition
5. When I’m Gone, Let the Wolves Come
6. Shadowlands (ft. Chris “Blutjäger” Sweigart)
7. Journeyman
8. Alone With the Setting Sun

“Fires In The Fall” by Krigsgrav is out 23rd June 2023 via Wise Blood Records and is available over at bandcamp