{"id":232800,"date":"2026-03-09T17:58:05","date_gmt":"2026-03-09T16:58:05","guid":{"rendered":"https:\/\/www.angrymetalguy.com\/?p=232800"},"modified":"2026-03-09T17:58:05","modified_gmt":"2026-03-09T16:58:05","slug":"vreid-the-skies-turn-black-review","status":"publish","type":"post","link":"https:\/\/www.angrymetalguy.com\/vreid-the-skies-turn-black-review\/","title":{"rendered":"Vreid – The Skies Turn Black Review"},"content":{"rendered":"

\"\"It’s been a long five years since we’ve had an album from this Norwegian foursome. Which is probably a good thing, considering their last few releases haven’t been their best by a long shot. Basically, since 2011’s V<\/i>, the band has struggled to retain their days-of-yore sound while trying to expand on it and deliver something fresh. Having left Season of Mist and returned to Indie Recordings, now is the time to drop something new and exciting\u2014especially if you’ve once again enlisted the mighty Mistur<\/b>’s keyboard wizard, Espen Bakketeig, to lend a hand in the finished product. One spin in and Vreid<\/b> fans will find a lot of what you’ve come to expect from the band, while also exploring some surprising new directions that are sure to drop your jaw. But, is that a good or bad thing for The Skies Turn Black<\/i>?<\/span><\/p>\n

As has become the norm for the band, we’re blessed with some killer guest appearances by the aforementioned Espen Bakketeig and Djerv<\/b>’s Agnete Kj\u00f8lsrud, a smart decision by Kampfar<\/b> on the amazing Ofidians Manifest<\/i>. While Bakketeig’s performance on 2021’s solid Wild North West<\/i><\/a>, I felt he was underutilized when crafting his key atmospheres or lustful piano passages. Thankfully, that is not the case for The Skies Turn Black<\/i>. Outside of the emotional piano interludes, you’ll find plenty of powerful, spacey, and quirky key atmospheres throughout. And Kj\u00f8lsrud’s contributions to the almost gothy “Loving the Dead” make it one of the best songs the band has ever penned.1<\/a><\/sup> <\/span><\/p>\n

The album begins on a strong note with “From These Woods,” which is one of the longer and more epic tracks. After opening with some soothing clean and acoustic guitars, the black metal assault ensues. After passing through a dark alley of echoing clean-vocal support, the new riff change is nastier and heavier than ever. But the moment you get settled in, the song comes to a screeching halt, unloading beautiful piano, soaring guitars, and lush, clean vocals. When it concludes, you’re whiplashed with a vicious attack because the fucking song still has two minutes to go. Another track that has similarities is “Smile of Hate.” This one has a simple but headbangable riff in the vein of Amon Amarth<\/b>, that marches along at one point and collapses into another impressive piano passage. This time, a little less ethereal and more like the piano and key work of Dimmu Borgir<\/b>.<\/span><\/p>\n

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But, like all Vreid<\/b> records in the last decade, there’s a point where things get real weird. Not in a negative way, like some previous material. On The Skies Turn Black<\/i>, it begins with “Kraken.” It turns out this track is part of the soundtrack to this year’s Norwegian “blockbuster,” Kraken<\/i>.2<\/a><\/sup> But being more synth-driven than guitar-driven, it has an eerie vibe that actually would work equally well in the movie Sorcerer<\/i>.3<\/a><\/sup> It’s not a standout track, but it’s the perfect introduction to “Loving the Dead” because it uses the same elements. As mentioned, this song stands way out because Kj\u00f8lsrud dominates on vocals. This eight-minute epic takes you through so many emotions, from Kj\u00f8lsrud’s vocals to the intertwined guitar work and the climactic finish. This special piece is definitely a Grier<\/b><\/span> SotY contender.<\/span><\/p>\n

There are plenty of other high moments on this record, which is hella nice to hear for a change. The track that really loses me, though, is “Echoes of Life.” It’s not a bad song, but it’s an odd duck of ’70s progness. While it’s smooth and clean, it’s too old-timey to fit with the rest of the album. Thankfully, the follow-up closer “The Earth Rumbles” reignites the fire before the album concludes. If “Echoes of Life” ended the record, I might be a bit more upset. But, I’m pleased to say The Skies Turn Black<\/i> is Vreid<\/b>’s best album since V<\/i>. Which is wild to say considering there are four full-lengths in that time. The master is nicely done, letting everyone shine when it matters\u2014especially the bass, which has always been a major staple to their sound. If the skies really are going to turn black, I’m here for it. After all, that’s better than the color they are these days.<\/span><\/p>\n