Slægt: The Wheel-2018.

Slægt:Black Heavy Metal from Denmark.

Discography:

DemoDemo2012
White Medal / SlægtSplit2012
IldsvangerFull-length2015
Beautiful and DamnedEP2015
Domus MysteriumFull-length2017
The WheelFull-length2018
Black BombsEP2019 
Fealty, Thunder Whip [Single Edit]Single2022 
GoddessFull-length2022 

Members:

AsrokBass (2011-2014), Vocals, Guitars (2011-present)
Olle BergholzBass, Vocals (backing) (2015-present)
See also: Ond Tro
Adam CCsqueleDrums (2015-2019, 2020-present)
See also: GuldsjakalKamp, ex-Reverie
Anders M. JørgensenGuitars (lead) (2015-present)
See also: Kamp

One thought on “Slægt: The Wheel-2018.

  1. Abominatrix, December 20th, 2018
    Written based on this version: 2018, Digital, Ván Records (Bandcamp)

    I was really impressed with Slaegt’s 2017 album, Domus Mysterium, and I was surprised and pleased to notice they had something else materialising so soon. Surprised, pleased, and, it must be said, somewhat trepidatious. Domus Mysterium was an enthralling experience in part because of its dualistic nature, but there was also something of a question in my mind as to whether the contrast between exquisitely gorgeous, moody sections and frenetic blackened heavy metal was the result of tension within the band and a certain amount of indecision as to how to proceed with this music thing. After all, I have seen this happen many times in bands, where guys pull harder and harder in different directions until the artistic fibres are stretched so thin that there’s an almost perceptible TWANG! and we can then say farewell to something beautiful and good. There were times during the Domus Mysterium experience when I wondered if perhaps the moodiness and contemplative acoustics would overtake the metal entirely. I never saw it as a mark against the album, because I really liked those sections, but I don’t mind admitting they made me a little apprehensive for the future of the band.

    Here we are, less than two years later, though, and Slaegt have done the opposite thing, embracing their wild metal antics whole-heartedly. There’s still a huge amount of melody and harmony to be enjoyed here, and the guitar-work is superb, remaining the definitive highlight of the Slaegt package. There’s loads of classic-sounding dual-guitar parts playing in thirds or other commonly pleasing intervals, and it’s all done with such taste and poise that it draws you right in. The vocals do the job they are supposed to by accenting riffs and rhythms, but very occasionally will inject hints of their own melody as well. It’s quite subtle and you won’t really sit up and say, “oooh, clean singing part!” the way you might with some bands, and again, it’s a mark of Slaegt’s strength that they can do this without fanfare when the need calls for it.

    The band hasn’t altogether forsaken the quieter, slower sections, either, and I’d say that, if anything, their decreased frequency as The Wheel turns means that they particularly grab your attention when they occur. Slaegt has this weird thing going on that I haven’t really heard anywhere else. Their speed and attack mostly reminds me of certain melodic black metal stylings, particularly from Sweden, but their mood, and the aforementioned propensity for acoustics, clean guitars and subtle, arresting harmonics are quite unique in this genre. Imagine Sacramentum jamming with Wishbone Ash and you might be a little close! That’s how I described Slaegt to a friend, and he thought that sounded weird as hell and refused to listen, but hopefully you won’t make that same mistake, because I promise it’s a combination that Slaegt pull off with startling clarity and conviction.

    Of course, one thing that sets these guys apart from Sacramentum and their ilk is that, while they aren’t afraid to play fast, they really do not hesitate to wear the heavy metal influences on their sleeves. They look like 80s kids, too, and not really the “sloppy thrash guy” type. While they started out quite firmly in black metal territory, sonically, with The Wheel, they really bring the choppy, precisely palm-muted riffs and infectious lead harmonies to the fore. Some of these ideas even sound “fun”, but there’s a fair amount of darkness and introspection to be heard here, too. You’ll know it when you hear it, but the interludes and slower parts this band plays are really like nobody else in metal and will often surprise you with their intricacy and taste. I’m really not certain that I like this better than <i ]Domus Mysterium, as the variation on that album was one of its strongest assets despite my misgivings about what future direction the band would take. You could say, though, that this album is more consistent; its purpose more sharply defined and clear, and that's also an attractive feature. At times this reminds me of what the American band Dawnbringer used to sound like before they dropped most of their black metal influenced, but Slaegt is a great deal more focused here and don't usually change things up with incomprehensible whimsicality. It's an intelligently written album and fans of tasteful, mood-driven guitars will find a great deal to like within its depths.

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