{"id":231131,"date":"2026-03-01T15:40:35","date_gmt":"2026-03-01T14:40:35","guid":{"rendered":"https:\/\/www.angrymetalguy.com\/?p=231131"},"modified":"2026-03-01T15:40:35","modified_gmt":"2026-03-01T14:40:35","slug":"frozen-ocean-askdrommar-review","status":"publish","type":"post","link":"https:\/\/www.angrymetalguy.com\/frozen-ocean-askdrommar-review\/","title":{"rendered":"Frozen Ocean – Askdr\u00f6mmar Review"},"content":{"rendered":"

\"\"One of the biggest challenges I’ve encountered as a music reviewer is trying to describe a band’s musical aesthetic when their discography is all over the place. Now, I know what you’re thinking: Blut Aus Nord<\/strong>, and you would be correct, but at least there’s an intangible thread connecting the various gnarled branches to their undulating, pulsing roots. Vaarwel, the mastermind and sole proprietor of Russia’s Frozen Ocean<\/strong>, takes his project to where it needs to be, and how he feels it should be delivered, musically. Over the course of 11 albums, as well as various EPs and splits, Frozen Ocean<\/strong> follows their own muse, without any musical correlation between them. It’s a big toss-up what you’re going to get per release, and I can’t help but respect the hell out of that.<\/p>\n

I just wish it connected with me as well as The Prowess of Dormition<\/em><\/a> did. Whereas Dormition<\/em> was melodic black metal with a trip-hop undercurrent, Askdr\u00f6mmar <\/em>instead flirts with DSBM, rubbing shoulders with a trippier Lifelover<\/strong> bent. Opener “Mangata” leads off with some ambiance before a simple repeated melody takes over, followed by simplistic programmed drums, and finally other instrumentation. Vaarwel adopts more of a black metal rasp this time around, and just as the song starts to go somewhere, everything fades out, and you hear a sample of a young woman talking. Believing this would build to something, it instead leads into “Bortkastade d\u00f6dsrunor,” the following track… which leads off with another sample.<\/p>\n

The majority of what follows is a “wash-rinse-repeat” cycle among the remaining eight tracks, as they all follow a particular pattern: either a sample or piano twinkling, followed by a riff that’s more than a little reminiscent of mid-era Katatonia <\/strong>(“Kottkvam”), an atmospheric moment that sounds like a tremendous build-up that only goes back to the main riff, and then a sudden ending. Things start to get interesting when “L\u00e5ngt lopp genom m\u00f6rkret” arrives, with its hyperactive keyboards and lively, energetic rhythms, but that’s track #8 of a nine-track album, and that’s just too far in the tracklisting to turn the ship around. Up until then, it’s just too formulaic and repetitive to leave a lasting mark.<\/p>\n

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\nThe production also doesn’t help matters any, as it’s squashed and flat. The programmed drums sound like they were mixed a bit too far back, whereas the guitars, keyboards, and vocals are in-your-face, and those sound compressed within an inch of their existences. The biggest hurdle of this album lies in its conception and how it ties in with the Frozen Ocean<\/strong> discography. As a fan of Blut Aus Nord<\/strong>, I know mainman Vindsval will write whatever the fuck he feels like, and because of that, BaN<\/strong>’s discography runs the gamut of sounds and styles. However, the big difference is that you can still hear it’s BaN<\/strong>. Vaarwel doesn’t quite have that distinction when it comes to his music, as his releases are so spread out style- and quality-wise that it’s tough to find an underlying thread connecting any of it.<\/p>\n

And that sucks to type, because I remember being impressed by The Prowess of Dormition<\/em> when it released almost a decade ago. While I wasn’t expecting a repeat of that EP, I also wasn’t expecting to be bored by what’s on offer here. Vaarwel is a talented musician with great ideas, but I’m waiting for those ideas to land. With Askdr\u00f6mmar<\/em>, I will continue waiting.<\/p>\n