“They pushed past cannons and moaning animals, past wounded wailing in wagons without straw, past abandoned children screaming by the roadside, and they did not see them because they were not theirs.” Herman Bang, Tine (1889)

As the idea of a constitutional democracy bristled in the minds of Danes as a point of consolidation of deeper national identity, as was the fashion in the post-Holy Roman Empire era of nineteenth century Europe, this’d not only posed a threat to the unfair rule of the estates of the realm in the German-leaning lowlands but a weak spot for the dominant German states of the time, Prussia and eventually Austria, to challenge Danish rule over these key points of port. By technology and doubled strength numbers a nine months war, treated as the second and decisive conflict in the Schleswig-Holstein region, would serve a tragic and traumatic blow to the kingdom of Denmark severing any ambitions of expansion or permanent rooting in the region beyond that point. — Further north up the peninsula Aalborg, Denmark-based atmospheric black metal duo Ildskær present a second longform envision of historic Danish warfare on this sophomore longplayer, this time around trading the icy spray of the Northern sea for the lowland and rolling hill conflicts of the lower Jutland Peninsula in depiction of the lost lives and demolished pride per the Dano-Prussian War of 1864. By all accounts, be they impressionist writers or historians ‘Blod & Jern‘ (blood and iron) is a reasonable description of the nine months of bayonet whipping, cannon hauling and musket cracking combat wherein Denmark would lose the lowlands (Schleswig, Holstein and Lauenburg) to Prussian and Austrian forces.

Ildskær formed circa 2020 by way of vocalist/lyricist Skóggangr (Genfærd, Serpens Exitiale, Tugt) and main performer Garðarsson (Í Myrkri) aiming to focus on historical themes relevant to Denmark using an elaborately voiced form of atmospheric and melodic black metal as the main medium. Their work has thus far approached some of the most tragic events in said history with their debut LP (‘Den R​æ​dsomste Nat‘, 2020) directly approaching the Second Battle of Copenhagen of 1807, or, the British naval bombardment of the capital wherein they’d set the city on fire in a paranoiac first-strike (by way of faulty intelligence) against the Dano-Norwegian fleet. Their follow-up mLP (‘Paa D​æ​kket Kalder De D​ø​de‘, 2021) which I’d reviewed favorably and included as #44 on my Top 75 Albums of 2021 would continue that story to gunboat battles of 1808, a continuation of theme and sound for the most part. If we zoom out to observe the most defining traits of their work thus far a somber, tragic tone dominates each release though those first two records had a slight triumphal tone which’d done well to serve the nuance of the early nineteenth century Scandinavia-set martial theme. Though I find music which carries these sorts of conceptual undertakings endlessly entertaining in their embodiment of Europe’s desperate grasping at bordered cultural identity both during and beyond the conquer of the Holy Roman Empire the main draw I’d found in Ildskær‘s work came from their balance of tragedian melodic carve and stoic strength, a well-rounded poetic feat which was at once typical in modern black metal guitar technique but difficult to compare to any one modern atmospheric black metal band. This’d created high expectations heading into ‘Blod & Jern‘ to say the least.

A concerted dance down the curvature of a barrow mound, opener “Thyra’s værn” slinks in rallying the march of drums as a sleepy organ awakes beyond the first whistle of a flute as the classical guitar inspired gust of Ildskær returns as a deeper-set froth in the distance. Writ for two guitars and resounding in three-dimensional reverb’d contrast imparted with dramatic subtlety, the first impression of the space which ‘Blod & Jern‘ inhabits is chasmic, cathedralesque, and deep within its neatly woven yet wandering melodic expression. The leading voice of the first chair guitar is purposefully tragic, the major draw characteristic of all of their work, wherein its saunter is a thumping dance which may as well be considered in consonant conversation between its many longform phrases. One guitar provides a droning directional meter to reflect the bruise of the drums and weigh down the celestial organ’s hum while the other is maestro and director, leaving the vocals to narrate in bloodied rasps and hymnal washes as the song peaks with a blast-salvo and a mournful hum out of scene. If we must consider atmospheric metal as painterly in its many layered development there are is at least intention behind each placement as this opening piece sets a surreal tone for the battle ahead.

Beyond the rousing dramatism of the first piece comes a clash of swords and cannon fire as the steadied, familiar atmospheric presentation of Ildskær‘s first two releases reprises. As we step into the field of honor-making with “Ærens mark” no doubt you’ve noticed the recording/render here is decidedly more quiet this time around. No, not merely a function of volume, the mix appears intentionally distanced ’til cranked while allowing the resonance of the echoing space depicted a mostly legible pulse seemingly in escape of the dry-boned precision of digital recording. While I wouldn’t personally bury such accomplished compositions there is yet an dark, smoke-billowing aura achieved which allows these interwoven pieces a flowing quality which’d been better introduced on ‘Paa D​æ​kket Kalder De D​ø​de‘ and enhanced herein. It’d take about three listens to begin to hear the emotive expression of the vocals vary beyond the crackling hiss. For a nine minute song “Ærens mark” merely creates dramatism in scene, certainly not chaotic but run-on in its detailed scan of the field arriving into battle yet it doesn’t quite go anywhere as directly evocative as its follow-up, “Jylland i brand”, which serves as my favorite piece of the lot.

And so they set Jutland afire. — The Danes did fight honorably despite the futility of the situation in terms of pure numbers and little advantage held within the lowlands. An overconfident stratagem and lacking artillery was perhaps a matter of technology in hindsight, as the infantry’s muskets needed to be loaded while standing and the terrain was often flat, sparsely forested at best. The German troops had the upper hand in all areas but precision, and if we consider the American Civil War was at the time being fought between rows of standing gentlemen using big, slow to load and fire flintlock muskets (as the Danish were) while the earlier innovations of “needle rifles” or breechloaders, a primitive style of bolt-action rifle (specifically the Dreyse Zündnadelgewehr) being used by the Germans, could be loaded while laying down. It’d been enough of an advantage (when used) considering the terrain, though the use of cannons was ultimately the mayhem necessary to win and this’d been particularly brutal for the folks living in the contested regions. We are set in the winter-cum-spring scenario of battle per “Jylland i Brand” and “Gjennem ild og røg” where the former has a triumphal hymnal quality to its rolling stride and throttling bass drum hits, create a sort of artificial quality to the rhythm section that is nonetheless effective in its illustration. The war did tarry on and “Gjennem ild og røg” arrives in stages of spirited trot ’til a notable descent begins to hum in broader strokes nearby the end of the piece wherein chorales sing a ghostly melody before sounds of shouting warfare interrupt the reprise as it is carried away per a fading organ. The tragic heap of the album’s narrative more-or-less peaks there in terms of illustrating a losing fight as it were lost.

Death is joyous for me in a small, poor, humbled country. — If we roughly translate the lyrics thus far the sentiment is of course Danish in perspective, wherein the Prussian forces are not at all revered and the separation of cultures becomes more evident and necessary because of these events. The justification for the line drawn was language and culture from some perspectives, a flawed type of nationalist perspective in my opinion (see also: Crimea), but it was the value of the land to its monarchic rulers and not the will of the people that drove its conclusion to a decisive victory. The lameness of the defeated Danes under Christian IX is certainly felt on “Et lidet, fattigt land” in terms of its lyrics though the song is grand in its sorrow as Ildskær‘s authorship tends to rise to greater highs dependent on the scope of any given piece leaving this eleven and a half minute closer plenty of room to drift and surge through its elaborately strung melodicism.

The full listening experience was at first almost meek in its render but fiery in its performance, with a bit of a crank to the volume and some acclimation to the swaying conductorial hand of the first chair guitar’s endless melodic twists I’d found myself deeply immersed in each piece, all of which flowed together beautifully. Though the sound of archaic warfare might seem cliche to some it does well to set space apart and scene within each of these longer-form pieces. Sure, I’d have liked a more boldly voiced render but I don’t know the maximal boost would’ve carried such immersion versus this understated state, at any rate the moderne black metal enthusiast will appreciate a bit of tepid scuff either way. I’m left with two boons in exit of my initial time with ‘Blod & Jern‘, the first is obvious in that the legacy of Ildskær continues to impress me with its expressive and dramatic style without losing sight of underground black metal prowess and secondly I’ve picked up some extra appreciation for the history of Denmark, one important piece of their people’s identity which looms in mind for those intelligent enough to value history above current indoctrinations. Does the subject outweigh the music in terms of interest? In fact they are woven so intensely into character, particularly if you’ve made the effort with the lyrics, that each are essential components of this intriguing artist’s work. A high recommendation.

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