Written by Westin
Hekseblad – Kaer Morhen
> Melodic black metal
> Michigan/Massachusetts, US
> Releasing April 19
> Hypnotic Dirge Records
“Punk is dead” is a common refrain that’s so ingrained in music that it’s become memetic. It’s gone from earnest to rejected to ironic to post-ironic and all the way back again, constantly igniting debate about what the phrase and the genre itself even mean. Although no such phrase exists for black metal, a similar sentiment has lurked within the culture for decades, ready to decry the death of the “trve kvlt” and incite arguments about whether the second wave was the first and last bastion of “real” black metal. While I don’t think anything will truly settle the question for those dedicated to being loud and wrong, Hekseblad is the answer: black metal is eternally undead, and will never die for those who seek it.
Formed in 2021, Hekseblad released a number of demos, singles, and EPs, such as the acclaimed Fall of Cintra EP, and a split with Vér and Nachtheir, before finally announcing a forthcoming proper debut LP. The project is a duo comprised of vocalist and writer Bruxa, who is also the mastermind of multiple excellent dungeon synth projects under the Wallachian Opulence Productions banner, alongside multi-instrumentalist and producer Frosk, who’s also known for an eponymous black metal project (we reviewed the debut here) and the death metal band Frog Mallet.
In a sea of Tolkien-inspired dark fantasy, Hekseblad stand out. Kaer Morhen (“Keep of the Elder Sea”), like everything the band releases, is centered on The Witcher book series. While I don’t know a thing about the series, and I can’t exactly understand the lyrics, it certainly adds a different flavour to the album and its aesthetic quality that I do appreciate. The fantastic cover art by Aghy R Parakusuma is evocative of many classic purple-and-blue black metal records, yet the focus on Geralt approaching what I presume to be the eponymous castle with a horse grounds the record in a way that separates the identity from other black metal fantasy.
“School of the Wolf” opens at the sound of sharpened swords and a shriek like some unnamed horror about to clash with a monster hunter. The guitar work is immediately a standout, as Frosk uses melody as a lead to pierce through the din of guitar walls, ceaseless blastbeats, and Bruxa‘s shrieks. A sort of guitar solo/separate melodic riff really highlights his ability, and I found myself humming along to it. A similar melodic highlight can be found on the following track “Grain of Truth (Nivellen’s Waltz)” where the lead turns to piano and the entire section feels like an actual waltz before the black metal kicks back into full frosty fury.
The production is like a third member of the band, somehow balancing between cavernously blown out, like the fairly simple old school demos, and overwhelmingly grandiose. Frosk’s strength as a producer really shines across the record as he’s able to maintain the balance consistently and match the aural vibes with whatever each song needs. It’s a real triumph of bedroom black metal sound design. The band are heavily influenced by titans of the old school like Emperor, and it shows across the record without sounding like empty copy.
My absolute favourite track on this record is “The White Flame” which opens with a very lovely and romantic piano waltz over some light synth before the lead guitar comes rushing in to tremolo along that waltz to transition to a cacophony of aggressive black metal. The synths sitting under the storm are like flashes of lightning that barely light the sky enough to witness the tempest. The song has a variety of tempos and textures, full of all kinds of fun vocals and that delicious recurring waltz motif. Halfway through the guitars return to duet the piano, a wonderfully haunting melody that feels like a ghost sifting between castle walls lost in the reverie of death. Shockingly, this track was released as a single all the way back in 2022, and I’m glad to see it return here, as it’s really a magic example of everything that Hekseblad embodies and excels at.
The title track opens with synths and acoustic guitar that are soon accompanied by a flute, which feels like some folk song that would be heard in a local tavern traveling through the world. Like the waltzes, it carries a quiet danceable and sticky rhythm, which is impressive for a record so earnestly committed to the frozen aggression and terror of the dark. The black metal returns eventually, like the promise of the moon, but now it is slower and more rhythmic, following in the footsteps of the softer precursor. The track whispers creeping magic around stone and ancient trees, and Bruxa’s vocals are absolutely sinister. This track also features a guest solo by Sorjande of Mourning by Morning.
Kaer Morhen is full of genuine passion and impressive musicality – as much in love with the traditions that shape the foundation of the genre as with pushing the boundaries of what “second wave worship” means. Hekseblad is a band that seeks to honor the spirit of the old by keeping it alive and moving forward, not content to let it rot through weak imitation. If it gives you any indication how much I love this album, it is already tied for my most listened-to record of the year so far alongside the new Job for a Cowboy.
Bruxa is a talented vocalist but an even stronger songwriter, as this is a black metal record with songs on it. Frosk is one of the best guitarists I’ve heard on an indie black metal record, and the fact that he’s doing the rest of the instruments just adds to that texture. This album is full of memorable melodies, strong riffs, and impressive atmosphere. This is a duo in perfect harmony, playing off each other and to each other’s strengths, rising to a very high standard that they’ve clearly set for themselves.
THE BOTTOM LINE
Hekseblad are a magic duo who are keeping the spirit of old school black metal alive through a well-crafted balance between homage and originality. Their passion, songwriting, and musical chops are phenomenal and obvious. Kaer Morhen is a standout record for the band, and on its own merits is one of the best black metal records you will hear in 2024.