Gravvard: Minnesord |

When Darkness Takes Another Color

(2024 – Kongsblod Records)

Many are already familiar with the history of the genre and the whole Black or (Un) Black Metal thing, so the idea is not to bore you again with something that is redundant at this point. If I may highlight how the most extreme genre of Metal has evolved from its beginnings in the late 1980s to the present, there are many strands that have enriched extreme music. Gravvard follows this path, but preserves the roots that characterize Black Metal in its conception.
Gravvard is a Swedish word that translates as “grave care,” which is fitting for this project formed by two figures from the European extreme scene. Vindur, of Italian origin and from the band Mörkvind, and Grisha, Swedish, from the band Kärv. For those who like clarifications, Grisha is Christian, Vindur does not express himself in that way, so we can say in principle that Gravvard’s lyrical orientation is not directly Christian, but neither is it opposed to faith.
Having made these clarifications (for those who are always interested in such discussions), let’s move on to this album, entitled “Minnesord,” which in Swedish means “Obituary” and is ultimately the first album released by this duo, who combine the most devastating Black Metal with a more progressive approach; what many call Atmospheric Black Metal, or in other words, that tendency to take the most extreme Metal into the realm of the orchestral and follow the path of classical Nordic folk music.

“Minnesord” has a fitting beginning. The intro to “Vid Terminalen” is dark, melancholic, with a kind of prayer or supplication in between, and introduces us to an album full of musical nuances, if you pay close attention, of course. That’s why “Nadens Ar” is unmissable, with its classic riffs and blast beats, but in its composition and construction you can sense an intention to endow Gravvard’s extreme proposal with different harmonies and melodies that make the journey through this album much more interesting, with a musical and lyrical connection to the first track.
“Elegi Fran Ett Enskitt Kapell” is somewhat reminiscent of classic and epic metal riffs, but taken to the extreme, and in that idea we can notice something different from what we are used to in black metal, with a musical complexity that is undoubtedly captivating. In “Sjograb,” Gravvard opts for the most classic of the extreme but with an orchestral sound in the background that adds the necessary grandeur and majesty to the piece.
With “The Harrow,” we find the peculiarity that it is the first song on the album sung in English, but not the only one. Following the logic of the album, Gravvard continues in the vein of the most virulent Black Metal adorned with orchestral touches. It should be noted that Vindur is responsible for all the instrumentation and Grisha for the vocals, lyrics, and some of the instruments (although it is not specified which ones). A combination that works. “Ilios” seems to have a different tempo, slower and not as fast as is usual in black metal, with a complex composition in which the percussion takes on unusual relevance and sets the pace. This is another of the songs performed in English.
Towards the end, we find “Ett Enskilt Rum Pa Sabbatsberg,” which for us best represents Gravvard’s potential and is one of the best reasons to give this album a listen. It follows a line based on a concept closer to more traditional metal, with unmissable melodies. The orchestral harmonies of the guitars are truly a discovery. In our opinion, it is really moving; the instrumental “Avfard” closes the album with a slow and melancholic guitar strum that puts an end to the adventure that Gravvard offers us.
Let’s be honest, it’s not a revolutionary album, nor does it pretend to be. Gravvard’s work is a twist on a genre that doesn’t usually have much versatility, although it must be acknowledged that the convergence with other musical styles and genres has enriched the different offerings within the genre. There are those who defend the voracity of the old school, and others who are open to hearing something different. The latter are perhaps the ones who might give Gravvard’s “Minnesord” a chance, an album that may not be entirely original, given the thousands of similar offerings out there these days, but which offers something different to our taste, as its complex compositions and the non-abuse of orchestral instrumentation taken to extremes achieve the right balance between the old school of the most visceral Black Metal and sounds that take us to other places.

Another highlight is the concept, the idea, and the common thread that, lyrically and musically, makes each song on the album feel like part of a whole.
The artwork adds to the aura of mystery that the band already conveys through their music. The cover art is in line with what the genre generally offers, especially when it comes to Nordic black metal. The interior design of the inner sleeve follows the same line, featuring the lyrics of each song and a mysterious photograph in which the faces of the two members of Gravvard, Vindur and Grisha, cannot be seen. There is not much technical information either. Only that the album was recorded in 2024, and nothing else, which adds to the mystery, which is not really that mysterious after all.
This physical CD version is limited, as I understand that only 100 copies were released, but the material is available in digital format. In any case, we’ll leave some of this album below so you can hear what we’re talking about, and also, as always, the coordinates to find these guys on social media….

https://www.instagram.com/gravvard

https://gravvard.bandcamp.com/album/minnesord