No synergistic, self-regulating system can exist within the state of diminishing energetic returns created in antipodal fusion of the natural with the artificial. The illness of civilization spurns on the moderne individualist to seek any manner of transhumanist equilibrium available, substitutions which might bandage one singular case of existential dread yet none can sustainably exist in generational perpetuity nor contribute to any given natural system with said solution. The biophilic drive of the individual may very well be silenced by necessity of adaptation yet the species withers one generation after the next regardless, devolving into self-destruction equitant to their distance from harmony with the natural world and thier uncertain plot within it. The lyrics which ferment within this sixth full-length album from Cuban-borne and Galicia, Spain-based black metal duo Narbeleth dictate awe inspiring commune with nature as they explore a more poetically stated case for a necessary immersion away from concrete and plastic. The mind thrilling in observation of the depths of the forest frame ‘A Pale Crown‘ with more than fearsome black metal classicism as these folks use their devotion to Scandinavian wares as scaffolding for their own long-developed points of mastery.

Narbeleth was formed circa 2008 by way of musician Dakkar and since I’d covered most of their past discography in an in-depth review of their previous (fifth) album (‘Svmma Cvm Nox Arcana‘, 2021) most of what I’ve have to say about their style and how it has developed over the years would be redundant otherwise. Suffice to say that they’re still aiming for a decidedly melodic vision of black metal inspired by Norwegian and Scandinavian archetypes first and foremost. From the first couple of pieces on ‘A Pale Crown‘ the keen-eared black metal fan will quickly discern the core inspiration of Narbeleth as in the vein of the classic rabid yet refined stages of 90’s Norwegian black metal with opener “Pathways to Occult” leaning into a bristling yet voluminous level of distortion for its guitar tone and texture, striking into cold-driven semi melodic statement which intensifies in waves beyond the opening verse. The easiest comparison to make at face value is perhaps the ideal set forth by the recent precision iterations from Djevel (Norway) who do well to introduce atmospheric values of their own to classic Scandinavian sounds. While that first song is a flag flown and an immediately gratifying surge we shouldn’t overlook its third act beyond ~3:18 minutes in where we find ways in which these folks connect the past with the present state of refinement for melodic black metal guitar work. Though they’ve presented three very basic movements in a string of revelation the core modus of the band is well and clearly communicated off the bat, the rest of the album will tend to be more structured otherwise, often pushing beyond the typical reach of early-to-mid 90’s classic black metal sensibilities.

Though the first couple bars of the opener were enough to signal a quality release on my end it would be the title track, “A Pale Crown”, which follows that’d convinced me Narbeleth hadn’t set themselves in place and plainly iterated upon their previous release. Though we do find the ringing strands of melodic rhythm guitar work escalating throughout the piece in silvered resonance their build eventually leads to a midpoint evocative of earlier pagan black metal rouse wherein chanted clean vocals hum toward the midpoint. Though this moment isn’t as shrouded in fog as say, the first Borknagar album, there is at least some of that spirit in this dramatic and somber piece. Dakkar‘s guitar work is clearly the centerpiece for the first several songs on this record as we find the expression available to their last three or so releases finding a tightened point of precision without losing the swerving-loose consonance of his work, which is generally evocative of the rolling movement of ‘Nattestid…‘-era Taake as we pass through “On the Sight of Dusk”, its classical guitar interlude and its galloping final third.

“Of Moonlight and Spirits” is arguably one of the more directly atmospherically charged melodic pieces on the full listen as it concentrates on its upward-arcing guitar lines throughout, almost bearing an early Sacramentum-esque drift to its rhythms before the strike of certain leads take us elsewhere. The presence of the drums, per former Sartegos drummer Vindok, which roll through the fog of movement and give a bit of thunder as they begin to kick in in stages of escalation. Simple and even typical as this piece might be to the average black metal listener in the context of ‘A Pale Crown‘ and its greater trip this feels like a moment of transcendental depiction, a step outside of the self. Most of the three pieces which follow that high point extend the conversation, reapply some similar motif which to me reads as both an application of less aggressive atmosphere as well as some more directly heavy metal feeling moments of lucidity, such as the sentimental ’til majestic strokes which drive the second half of “Their Ethereal Dance Through Mist and Starlight”.

The fact that ‘A Pale Crown‘ ends with a Satyricon cover shouldn’t come as a huge surprise considering what comes before it, their choice of “The King of the Shadowthrone” does well to reinforce the level of mystic guitar arrangement and attack which the album has upheld while they give that particular song some of the shimmering nighttime atmospheric values inherent to their own work. Setting this cover next to their own adventurous closer almost minimizes it by direct comparison but only because they’ve done the cover song such justice. Sidling the high standards of the past next to their own contributions otherwise helps to endear Narbeleth as an idealist black metal band who’ve reached their own points of mastery along the way, curating a traditional but never thoughtless record which is smartly evocative of its themes and an easily approached experience thanks to sharp enough production values and a host of memorable but not overly involved pieces. A moderately high recommendation.

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