Nortt- Endeligt (2017)

After a decade of nothingness and decay, Denmark’s Nortt re-emerges in the form of a third full length on pt. 2 of the Avantgarde Music canon (the rock n’ roll/new wave edition). Rising to prominence in the early days of the suicidal black metal wave but vanishing just as the Thy Lights and Nocturnal Depressions of those days brought the movement to self-parody black and white Myspace-metal, Nortt returns to a world that has mostly forgotten their existence. As fate has seen their fellow Total Holocaust Records peers of that time fall into the pits of post-rock (Hypothermia), drug addiction (Nachtmystium), or straight up oblivion (Blodulv), will Nortt’s funeral doom foundation lead to a more desirable outcome?

On Nortt’s early works, the sound featured a clever hybrid of funeral doom and slower, druggier black metal.  Sadly, Nortt has abandoned the black metal entirely on “Endeligt” and instead replaced it with shitty drone elements.  The production is clear and full of clarity- a stark contrast to their humble beginnings- but the newfound coherence harms the album as it leaves the music exposed as overly bare and minimalist.

Furthermore, the repeated attempts at establishing a deep and desolate atmosphere are completely derailed by the impatience of each riff.  The changes are simply too quick, and do not give the movements enough time to dig into the listener before cycling forward into another meaningless riff.  When coupled with the complete lack of density to fill the wide open space, this results in the feel of random samples of instrumentation compiled together instead of a thoughtfully constructed piece.

Instead of delivering a mature venture into a rarely attempted sub genre, Nortt disappoints fans of funeral doom  with a halfhearted shell of an album lacking any development or vision.  Exposed by their poor choice of production and inability to build a worthwhile experience from a thin and hallow guitar technique,  Nortt offer the listener nothing more than a meaningless nightcap.  While heroin addicts may trip out to the newly injected drone pieces, the rest of us can use this album as a replacement for Melatonin pills when we need to fall asleep quickly for a good night’s rest.

Fans of Nortt’s demo tapes would have been better off wondering “what could have been” if Nortt had never come back after 2007.  Instead they have disappointing answer- in a stroke of pure luck, that their lack of ability to afford decent recording software made their music sound much better than it is.  Following the career template of 2004 THR/DSBM bands growing up to musically defecate in the streets, Nortt further prove that the DSBM timeline was just an over hyped gimmick that quickly crumbled against the winds of eternity.

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13 thoughts on “Nortt- Endeligt (2017)”

  1. desu metal says:

    Introductory “let’s find out” paragraph > four paragraphs reiterating the same negative points with increasingly melodramatic “prose” > a poop reference

    Do u guys use some kinda AI generator to write these?

  2. Rainer Weikusat says:

    Suggestion: Hold off a review until the album is actually released (12/29).

    AFAICT (didn’t spend much time searching) not even an example track is available right now, hence, for all practical purposes, this doesn’t exist. Without a reference, the text just hangs in the air. The only thing it can conceivably achieve is help the advance marketing efforts of the label.

    1. Titus says:

      Knowing the album is shit before it comes out is helpful Rainer.

    2. Titus says:

      The sooner you get the word out that the record sucks, the better as the less people waste their money.

      1. Rainer Weikusat says:

        I’d like to understand the review. And this is very difficult without knowing what it’s talking about.

        I realize that the point of ‘advance promos’ is to drum up interest in the product prior to release but that’s the perspective of the label: They’re trying to market their stuff as good as they can. But IANARC (“I am not a record collector”) — I don’t care about the pink-vinyl-in-a-wooden-box-with-real-dried-goat-blood-outside limited edition and encourage others to consider the same, less commercialized perspective: If anything, the music matters (supposed to include lyrics if they’re good) not the “look what I got you don’t have” opportunity.

    3. Jerry Hauppa says:

      All review sites are rooted in covering advance promos. It’s the reason review sites exist- to get the word out prior to release, much to a band’s chagrin if the press is negative.

    4. Hanswurst says:

      here you go Rainer..
      you’re google skills aren’t that good apparently.

      1. Interracial Porn and Arghoslent says:

        Rainer is a paki faggot.

        1. Rainer Weikusat says:

          Someone who believed to be wise once said “On the internet, nobody’s knows you’re dog”. That was obviously an optimistic, early adopter. The reality is more like “on the internet, everybody thinks you must be dog, thinks nothing can be more important than your assumed dogness, and will interrupt any communication about anything with repeated »It’s a dog!«” shouts.

          I haven’t yet figured out of this is attention whoring of the uncreative women’s heroes whose tall clusminess doesn’t work as nicely online it does in real world or genuine stupidity of some other kind.

      2. Rainer Weikusat says:

        No need to increase the invisibleoranges ad revenue. Wasn’t there when I looked yesterday, though.

  3. Recarbonize says:

    “clear and full of clarity” ?

    1. (((The Echo))) says:

      the point is to be clear obviously…jeez

  4. Psychic Psychic Toad says:

    Before all this incredible music was as instantaneously accessible as it is today, one of the best parts of studying DMU reviews was using your imagination to dream about what each album sounded like.

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