The Swedish Black Metal scene of the 1990s is often – and perhaps rightfully – portrayed as having consisted of a smaller cadre of style-defining artists, followed by a veritable deluge of more or less competent copycats. This observation does hold a certain degree of accuracy: who ever wants to hear another Dissection or Marduk clone? On the other hand, it overlooks the outlier bands who forged their own mode of expression, but either did not garner much attention or were met by outright hostility. Which brings us to the case of Göteborg-based Nåstrond.
Originally formed in the summer of 1993 as a three-piece under the moniker of Trident, the band soon reshaped into Nåstrond and from there on operated as a duo consisting of Draugr (vocals, stringed instruments, keyboards) and Arganas (drums). Following a handful of rather raw sounding demo- and EP-releases, Nåstrond issued their debut album ”Toteslaut” (1995), which caused quite a bit of critical animosity at the time of release.
After having devoured the brief and subtly unsettling introductory track ”Xolotl”, it only takes a few seconds into the first song proper to realize that ”Toteslaut” will not offer the standard Swedish Black Metal experience. First of all, consider the general sonic environment. The odd juxtaposition of the front-mixed synthesized/triggered but not perfectly tight drums and the earthen, almost decrepit-sounding guitar tone seem to either rub starkly the wrong way or enthralling further exploration. Not surprisingly, it was the production in particular that triggered instant aversion among underground reviewers back in the day. However, those who stick around for the full ride, or better yet for repeated listening, will probably notice that the way Nåstrond chose (or happened) to present their music does make sense.
As for the actual music, ”Toteslaut” bear basic similairites to some of their contemporary compatriots in the way it hearkens back to the primus motor: Bathory. However, Nåstrond largely eschew the emblematic coldness and worn-out trebly melodicism common to the Marduk/Dark Funeral camp in favour of warmer and murkier sonorities commonly associated with Hellenic Black Metal, whom Nåstrond also share a more tangible connection to older forms of Heavy Metal.
Song structuring on this album remains fairly straightforward, cycling through riff-based sections clearly defined by shifts in rhythm and tempo, which work to uphold a basic dynamicism throughout each composition. There really isn’t much room for contemplation, given the heavy Metal-esque focus on keeping the listener’s attention through dramatic shifts and minor detours, but neither do the songs overstay their welcome. Compared to the monochromatic blast-fests of so many of its peers, ”Toteslaut” remains surprisingly memorable. However, what first and foremost distinguish ”Toteslaut” is the imaginative character and suggestive use of melody to convey the thematic content of transformation and transcedence. This is quite effectively mirrored in the lyrical content, with its focus on necromancy, vampirism, lycanthropy, pestilence and, of course, the terrible majesty of Death.
On a more direct and emotive basis, as well as in terms of general ambience, there are also treasures to be reaped here. The mannerisms of the sonic reproduction in liaison with the strange, almost humming character of the guitar melodies, works in tandem to convey an atmosphere very much suited to the topics at hand. It is a world that is both repulsive in its worship of death and decay, yet at the same time enticing and oddly beautiful.
