Despite being a pretty important force in black metal in the mid-to-late 2010s, the Icelandic scene seems to have been a bit quieter the past few years, with releases from Vosbúð, Árstíðir lífsins, and Sól án varma being just about all that comes to mind. Enter Vafurlogi, the brainchild of Sinmara and Svartidauði guitarist Þórir Garðarsson — debut album Í vökulli áþján doesn’t stray too far from the standard Icelandic sound, but manages to make its mark with a captivating sense of melody and constant momentum.

While having its share of bands incorporating more atmospheric and folk-inspired sounds, Iceland’s black metal scene is most well-known for furthering the chaotic dissonance pioneered by Deathspell Omega in the mid 2000s. At first glance Vafurlogi isn’t too much different — first single “Helgrindur” is chock full of oppressive, dissonant chords to be expected from a project of this pedigree — but what becomes clear over the course of Í vökulli áþján is that Garðarsson has put a much greater emphasis on melody, and dialed back overbearing cacophony in favor of more comprehensible song structures. Just as Ancient Hymns of Apocalypse proved last week, less can certainly be more; “less” in this case is melodic lines existing above the murky low end, and proving a lot easier to follow through to their conclusion than frenetic dissonance and constantly shifting rhythms. While melody often presents itself in riff form, on tracks like “Viðjar holdsins” they are soaring leads.

Alongside the melodic tendencies of the album, a notable feature of Í vökulli áþján is the way in which it can inject moments of genuine beauty in between the more chaotic riffing; highlight “Dreyrrauði” is a perfect example of this. Big, powerful chords give way to a triumphant, melody-driven 6/8 section and a lilting, atmospheric conclusion. Aside from being the most inherently melodic song on the album, it has the most distinctive identity; I would love to hear an entire album existing in this vein. “Iðrun og ótti” is a close second, with its flitting, technical motif that almost hits math rock territory. Even when venturing into brighter soundscapes like these tracks, no momentum is lost — where other modern black metal bands would feel a need for soft, clean (or acoustic) guitar interludes to break up the blast beats, Vafurlogi go full steam ahead from one riff to the next. The only song that takes a bit of a break is “Hvíldarsálmur” and its slower section of ethereal clean vocals (however brief) and prominent bass. Garðarsson’s bass is the unsung hero of the album, holding itself prominently in the mix and perfectly enhancing the guitars (or acting as antagonist to them) as each song requires.

Dissonance in extreme metal has become all the rage these days, thanks in no small part to pioneering Icelandic black metal acts. While that flavor has by no means run its course, albums like Í vökulli áþján that reject these tropes in favor of something uniquely melodic — key word being unique, something not always found in acts claiming to melodic these days — is a very welcome sight in black metal. As a whole Vafurlogi have crafted a very solid record; should they decide to delve further into some of the more interesting aspects showcased here, we might just have another leader in the volcanic nation’s black metal pantheon.

— Colin

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Í vökulli áþján will be available September 13 through Norma Evangelium Diaboli / Oration Records. For more information on Vafurlogi, check out their Facebook and Instagram pages.