Skaldr - Saṃsṛ

(Source: https://ninecircles.co/2025/01/29/album-review-skaldr-sa%e1%b9%83s%e1%b9%9b/)

Another year, another 12 months in which I can seek out my next possible fixation in the melodic realm of black metal. When a label with such a pedigree as Avantgarde Music (Moonlight Sorcery, Inherits the Void) signs a new black metal act there’s no way I’m not going to take notice, and Virginia’s Skaldr are one of the latest to join the label’s ranks. Their second full-length Saṃsṛ walks paths well-tread by some of the genre greats of the ’90s, but injects enough energy to make the return worthwhile.

As I absorb more and more melodic black metal over time — both hidden gems of the past and newer acts seeking to make their mark — I keep trying to define exactly what makes the best albums click (i.e. why Far Away from the Sun blows everything else out of the water). At the current stage of my thesis one of the most important elements is movement; bands that have the ability to not just craft great riffs, but have the ability to move on to new ones in ways that flow in terms of songwriting. Repetition is a cornerstone of black metal of course, but when bands are able to subvert that trope the results can be tremendous. So how does Skaldr fit into this description? With grandiose leads, harmonizing guitars, and melodic riffs that do move, Saṃsṛ does pass the good melodic black metal test.

In terms of classic bands within the subgenre, Skaldr has the greatest similarities to Dawn and Windir; lacking the outright folk melodies of the latter, but having a much greater sense of brevity than the former. “The Sum of All Loss” opens with hard-hitting, mournful melodies and bigger chorus riffs that could’ve been lifted off of Slaughtersun, undercut by energetic, chugging rhythm guitars and weaving melodic lines that feel a lot more Valfar-esque (see also the ascending arpeggios of “Parasite”). The movement from one riff to the next is expertly guided by a drum performance that includes its fair share of blast beats, for sure, but is perhaps best in the slower sections — relatively simplistic, but the constant quick fills and subtle changes belie a sense of underplaying that lets the riffs speak for themselves. To distinguish the sound just a bit further, on “From Depth to Dark” Skaldr even give the bass a chance to shine with a short solo.

Melodic black metal tends to have more polished production than most of its blackened brethren, and Saṃsṛ is no different; the mixing and mastering is handled by the legendary Dan Swanö who leaves the bass properly audible, the lead guitars properly soaring over the rest of the mix, and has the biting vocal performance — perhaps the most classically ’90s aspect of the entire album — cut through the rest of the sound like a razor sharp knife. This frosty mix perfectly bridges the gap between old and new, just as Skaldr do as a whole unit.

Like many acts in the current melodic black metal scene Skaldr remain very much rooted in the established sounds of the mid/late ’90s, but they’re one of the few who manage to keep the nocturnal flame alive with solid riffs and songwriting on top of the melodic backbone we’ve come to expect from the best bands of the subgenre. If cold, sorrowful atmosphere with the riffing to back it up is what you need right now, then look no further. It took a few listens for me to fully warm up to Saṃsṛ, but it’s starting off 2025 on very solid ground… now it’s up to the rest of the scene to try and best it.

— Colin