Genre/Influences: Black-metal, death-industrial. Background/Info: The album “Gleipnirs Smeder” by Jotunspor was originally released in 2006…
Genre/Influences: Black-metal, death-industrial.
Background/Info: The album “Gleipnirs Smeder” by Jotunspor was originally released in 2006 (!) on Satanas Rex (UK) and Candlelight Records (USA). Two years later (2008) the album got a re-release as a vinyl on Temple Of Darkness Records. The album was the first release on Satanas Rex, which is/was a black-metal division of Cold Spring, which now again has re-released the album. Jotunspor is a Norwegian duo featuring ‘King’ and ‘Kvitrafn’. Both members have been involved with different bands while they both were members of Gorgoroth.
Content: The ‘metal’ roots of both members rapidly emerge at the surface. Dark guitar playing and a furious cadence have been joined by enraged vocals. It creates the main substance of this work, which is just interrupted by a rather dark-soundscape cut filled with humming blasts while another track is more into death-industrial influences.
+ + + : Jotunspor created an obscure sonic universe inspired by old Norse cults and beliefs. It has been transposed into a sonic mayhem, evoking a giant drill driven by hardcore cadence. The album creates a sonic wall, which is just interrupted by the soundscape-like “Svartalvheims Djup” and “Solartjuven”, which sounds a little bit death-industrial like as well. I personally prefer this ‘softer’ side of the work.
– – – : Black-metal music is an extreme sensation to me and not exactly the kind of music that captivates me.
Conclusion: “Gleipnir Smeder” is a truly sound cataclysm; an extreme experience in sound, which is intended to please the true lovers in the genre.
Since you’re here …
… we have a small favour to ask. More people are reading Side-Line Magazine than ever but advertising revenues across the media are falling fast. And unlike many news organisations, we haven’t put up a paywall – we want to keep our journalism as open as we can. So you can see why we need to ask for your help.
Side-Line’s independent journalism takes a lot of time, money and hard work to produce. But we do it because we want to push the artists we like and who are equally fighting to survive.
If everyone who reads our reporting, who likes it, helps fund it, our future would be much more secure. For as little as 5 US$, you can support Side-Line Magazine – and it only takes a minute. Thank you.
The donations are safely powered by Paypal.
This website uses cookies to improve your experience. We'll assume you're ok with this, but you can opt-out if you wish. Cookie settingsACCEPT
Privacy & Cookies Policy
Privacy Overview
This website uses cookies to improve your experience while you navigate through the website. Out of these cookies, the cookies that are categorized as necessary are stored on your browser as they are essential for the working of basic functionalities of the website. We also use third-party cookies that help us analyze and understand how you use this website. These cookies will be stored in your browser only with your consent. You also have the option to opt-out of these cookies. But opting out of some of these cookies may have an effect on your browsing experience.
Necessary cookies are absolutely essential for the website to function properly. This category only includes cookies that ensures basic functionalities and security features of the website. These cookies do not store any personal information.
Any cookies that may not be particularly necessary for the website to function and is used specifically to collect user personal data via analytics, ads, other embedded contents are termed as non-necessary cookies. It is mandatory to procure user consent prior to running these cookies on your website.