Music is such a great vehicle for conveying a variety of emotions. The often present darker textures, particularly in the doomier genres, translate so well to themes of loss, sorrow, and melancholy, and events in my own life over the past year have caused me to make strong connections to several albums with this focus, such as the amazing latest album from Marianas Rest. I actually was not familiar with Norwegian gothic death doom metal band Evig Natt, despite their long standing history since the early 2000’s. It had been 10 years (2016) since the band released a full length, but late February saw the release of their brand new album, “Vaketimen.” I always love understanding the English translation of a non-English title, and searching resulted in a handful of potential translations, including “The Waking Hour,” “The Hour of Vigil,” and “The Free Time.” I don’t know if any of these are 100% correct (I have not spoken directly with the band about it), but I can easily relate any of these translations to the melancholic hymns contained on this album. What I like about any of them is that it translates to a cycle that complements their name, which translates to “Eternal Night,” also matching their musical ambiance perfectly. 

The album blends blissful melancholic atmosphere, silky gothic melodies, and crushing doom to create a soundscape that is both beautiful and heavy. The band employs layering liberally, whether creating harmonic dissonance with the gorgeous female vocals juxtaposed against aggressive snarls, or polyphonically melding myriad guitar and piano melodies soaking in thick atmosphere. Female vocalist Kirsten Jørgensen is divine, beautiful intonation and impassioned emotion as her voice flows effortlessly through each passage, reminding me a lot of Illumishade/Eluveitie vocalist Fabienne Erni. Bassist Stein Roger Sund adds gnarly growls that are also dripping with emotion. However, it is when the two join forces that is truly chill inducing, a mesmerizing combo that creates the aforementioned harmonic dissonance, adding incredible depth and passion to the vocal delivery, aided by the fabulous melody lines. The guitars run the gamut of subdued simple melodies, to crushing wall of sound riffing, and the drums can pound and pummel while also being light and deft. Piano/keys play a prominent role, haunting gothic melodies and thick atmosphere emanating, and strings make appearances regularly, adding to the orchestral and occasionally folksy feel. The band leans heavily into dynamic contrast, allowing it to drive the emotional response the instruments and voices are requesting. This is an incredible album, beautifully melodic, big and heavy, that flows exceptionally well from start to finish.

“Shimmer” is an ethereal instrumental, opening the album with a gorgeous somber piano melody, orchestration swelling around, entrancing as it lures you in. It transitions seamlessly into “Last of the Light,” blackened tremolo picking over a doom base slamming you hard. The first half of the song juxtaposes textures of hefty doom and symphonic gothic metal. Thunderous drums and crushing riffs pulverize your ears as Sund’s growls enter the fray, while ethereal atmosphere and the heavenly voice of Jørgensen are joined by more restrained drumming and guitars, with Sund lurking in the shadows. The two vocalists join forces at one point, creating an incredible harmony of melody and dissonance that is powerful. Halfway, the dust settles, recalling the piano feel of “Shimmer” but with a different melody. The strings and bass join forces to create a folksy atmosphere, serving as a great transition for a return to pulverizing doom, this time Sund forefront with Jørgensen lurking. A false stop immediately crescendos into bombast, the initial blackened tremolo picking over a wall of sound creating a foundation for soaring vocals and aggressive growls working in tandem for an incredible finish.

“Death” delivers an eerie haunting vibe, inspired by the character Death from Neil Gaiman’s The Sandman. The song ratchets up the gothic doom atmosphere as it begins, enveloping Jørgensen’s more alto delivery. The chorus features impassioned growls in an orchestral mist, with a haunting but killer melody, Jørgensen joining in and punctuating the message in concert with the snarls. It reminds me a bit of Marianas Rest both in the vocal and melodic approach, imploring the listener not to be afraid of death but rather be accepting of its presence when the time is right. A little past halfway is the first time the wall of sound begins to dissipate, trading for symphonic gothic overtones and a bell tolling, making the listener think Death is near. A final gong transitions into a final refrain of the chorus, joint vocals massive in their presence as the drums and guitars pummel their way to the finish.

“Når Lyset Svikte” has a grandiose beginning, orchestral gothic melodies swelling before settling into heavier gothic doom. Jørgensen’s vocals are phenomenal, soaring over the wall of sound, with Sund’s tormented growls providing support amidst the thunderous drums, powerful riffs, and enrapturing synths. Two thirds in and everything drops, a softer piano melody taking over, slowly layering in rich strings before an impassioned growl welcomes back the doomy heft. The vocals join forces in their intoxicating diametric blend of melody and brutality, powerful doom yielding to a softer finish. 

“Gråtaslaget” is a short string and wind instrument feature with a Celtic folk feel, beautifully executed, serving as an intro for “Sorrow My World.” It opens with a determined doom drive and an aggressive growled attack that slowly builds in intensity. The chorus is powerful, drums a tornadic force, featuring anthemic vocals delivered beautifully by Jørgensen (“Feel the fire char my flesh”). Amidst the alternating between Sund and Jørgensen are narratives that I can’t quite make out, but they add texture to the melancholic lyrics. A late impassioned bridge from Jørgensen over tremolo guitar leads to a brief atmospheric reprieve, crushing heft featuring Sund, then a gorgeous quiet female solo. Everything then erupts into the massive ending, both vocalists anthemic in concert, before a subdued fadeout featuring Jørgensen one final time.

When I mention that Jørgensen gives me Fabienne Erni vibes, next song “In the Darkness” comes to mind, which almost feels like an atmospheric shorter track from Illumishade. A simple piano melody and swirling atmosphere privide the perfect backdrop for her incredible voice. Late in the song, strings add some texture almost like a guitar solo, before a haunting vocals-driven finish.

“Eahparas” is a personal favorite out of many favorites on the album, and it is also the longest song on the album by more than 90 seconds, clocking in at just over 8 minutes. A simple picked guitar melody is surrounded by keys, joined by swelling guitar lead as Jørgensen softly enters. Just shy of two minutes the pace and heft amp up, searing guitars and pounding drums accompanying a tortured growl, leading to a powerful impassioned chorus featuring both voices, magnanimous and anthemic in its incredible harmonic dissonance. The song continues down a massive gothic doom path, crushing riffs and drums accompanying Jørgensen and Sund as they take turns separately and layering together. After the second time through the chorus, the pace slows, ambient effects and surreal atmosphere enveloping a brief narrative that yields to a calm, with Jørgensen reentering, then joined in a powerful duet by Sund. This power carries through to the conclusion, including one final rendition of the chorus, before a quiet ending.

“Tallemaja” has a folksy doom intro, strings within a wall of sound, then settles into silky gothic melodies flowing amidst ethereal backing vocals. The chorus reestablishes the doomy pace, creating a strong foundation for the anthemic earworm that will live rent free in your brain. Jørgensen absolutely shines in this song, reminding me so much of the commanding presence of Fabi Erni, with gorgeous vocals and incredible control. Sund mostly plays a secondary role, growling in the shadows as a grisly harmony to her passionate melodies, emphasizing the harmonic dissonance which the band excels. A little over halfway, the strings return to the forefront in a brief instrumental bridge, leading to the one time Sund takes the lead, powerful drumming and atmosphere surrounding. This serves as nice transition to the final chorus refrain, anthemically bombastic as the strings and additional harmonies are layered in. The song ends as it began, sans the doom, strings ringing out gloriously as the song closes.

Closer “At the End of the Night” comes full circle, the album starting with a “shimmer,” and now this opus from “Eternal Night” coming to an end. It hearkens back to the intro, piano playing the primary instrument role, Jørgensen’s haunting voice stunning in its melodic gothic glory. The song remains subdued for the first half, building in grandiosity as the guitars and drums join the piano, big atmosphere surrounding, and Sund eventually providing a snarly backdrop to Jørgensen as they expertly do throughout this album. The climax fades to the somber piano melody one final time, closing out this fabulous album.

I have found this album to be a grower. I really enjoyed it upon first listen, but the more I have listened, the more I have fallen in love with its dark melancholic textures. This album comes highly recommended, and its dark melancholic hymns beckon you with their heft and beauty.