Kaeck has received quite the buzz from other contributors to this site, which was actually how I discovered it. It turns out that this is one of the best black metal releases I’ve heard since Sorcier des Glaces’ The Puressence of Primitive Forests in 2011. It’s not the most accurate comparison since this is a significantly more violent and melodramatic album (Puressence, for all its strengths, is candy-coated), but I digress.
Stormkult belongs to an especially claustrophobic school of black metal, with its bassy production and keyboard soundscapes. Of all the instruments, though, the vocal section was the first to particularly draw my attention. They are all over the place, and the constant variation of vocal technique is effective in distinguishing sections of songs and their corresponding moods. For some, these may take some acclimation; there are some particularly anguished screams and shouts that only avoid coming off as goofy or otherwise inappropriate through their scarcity and correspondence to climaxes in the rest of the songwriting. Since I can’t understand the Dutch these vocalists apparently perform, I have to pay special attention to how they use their voices as instruments, but I am thusly rewarded with the strength of their performances even if I can see some not enjoying the style.
Other parts of the recording are more conventional, although the dense soundscapes and keyboards tend to put me in mind of Emperor’s debut (In The Nightside Eclipse). Despite not being as overtly symphonic, the content here has a similar pacing of riff delivery – slower chord progressions over fast, if relatively unvariegated drumming; percussion is admittedly not the major emphasis here, although the drums are mixed prominently enough for this reality to reach my attention. There’s definitely room for more variety in the drumming without overemphasizing it and thusly creating awkward stylistic conflicts. Some more tempo shifts might’ve been helpful, too, as the album does seem to lean towards a theatrical, narrative style in other parts of its instrumentation, and a few well placed breaks can be very powerful. A more shrewdly degraded production might also help – Stormkult sounds almost crystal clear in spite of its overtures towards low fidelity, which suggests the latter may have been created by something as artificial as slicing out all the sounds above a certain frequency.
The positives here outweigh the negatives by a great margin, though; Kaeck’s approach on this album is fundamentally sound, although there is definitely room for refinement and greater sophistication if they choose to go forwards with future recordings. Those could potentially stand with the god-tier recordings we’ve enshrined here, but that Kaeck comes close to them makes me confident that they could reach that level with practice and effort. I write this knowing I have yet to finish penetrating Stormkult‘s depths, but an album that doesn’t surrender its secrets immediately is better than the alternative.