Potentiam: Years in the Shadows CD PROMO 2006 Check audio. Icelandic Dark Gothic Heavy Metal / Melodic black metal. Iceland.

Description

Check whole album:  https://schwarzdornproduction.bandcamp.com/album/years-in-the-shadows-sd29cd

Label: Schwarzdorn Production ‎– 784-975
Format: CD, Compilation, Promo.
Promo in cardboard: “for promotional use only – not for sale”
Country: Europe
Released: 2006
Genre: Black Metal
Tracklist
1 Elysium 8:02
2 Mirror God 9:18
3 The Idolized 7:38
4 Eternity’s Dark Embrace 3:29
5 8 For Holy Rebels 4:05
6 Chameleon 6:19
7 Black Light 5:04
8 Star Of The 10th Moon 7:00
50:19

The songs were recorded between 2003 and 2006.

In January 2007, Schwarzdorn production from Germany released both the “Elysium” rehearsal material and “Chameleon” promo as a full-length album entitled “Years In The Shadows”.

Holy shit where did this come from – 93%
I’m rather surprised the post-black scene hasn’t picked this one up and run with it- this is right up the alley of fans of bands like Arcturus or Vintersorg. Granted, it’s not quite as over-the-top with its progginess as those bands, and it doesn’t really have the indie or post-rock influences necessary to impress Wolves In The Throne Room fans, but the happy medium it finds is pretty perfect for celebrity status. More surprising than its lack of notability in the greater scene is how fucking good it is; ordinarily I would hate this sort of thing but the pure strength of Potentiam’s songwriting carries it through unscathed. I’m truly impressed; maybe it’s the band’s Icelandic heritage that prevents them from reaching a wider audience, but I hope that changes in the future.

The bulk of Potentiam’s material seems to be a fusion of more traditional black metal melodies and song structures with Vintersorg’s taste for progressive and winding melodies. Black metal vocals here are an accent, not the bulk of the singing; cleans are more widely used, and to great effect, from almost shamanic chanting to a more traditional (again) Vintersorgian singing voice. The vocal melodies intertwine brilliantly with the riffs, which range from simple strummed rock chords to more intricate tremolo or lead configurations- all, however, are incredibly important to the texture of the music, particularly when the two guitars split in different melodic directions, making for some of the most enthralling moments on this release, such as on the almost Isisy slow-grower ‘The Idolized’.

The first demo on this release, composing the first half of the tracks, is the more black metal of the two, where the second eschews the harsh vocals entirely in favor of pure singing. The first demo reminds me sporadically of German artist Verdunkeln with its swirling guitar drones and tiny psychedelic melodies, but the second is a just a lightly black-brushed prog release, and an astounding one at that. Opening with what might be the best track on the CD, ‘8 For Holy Rebels’ reminds one of early Amon Amarth or Path Of Debris but with a more decisively prog-tinged approach; either way, the intensely memorable riffing which takes as much from Vintersorg as it does ’70s rock and roll makes for a massive stylistic shift. This is probably the better of the two demos as it feels like what the first was leaning at all along: black metal-tinged prog rock with a brilliant sense of pacing and arrangement.

I really can’t recommend this enough to prog fans; this is the bizarro world version of bands like Arcturus where the music is actually good. I could go on for pages about tiny individual elements- the incredibly nuanced and subtle drum performance, the brilliant guitar interaction, or the simply stunning singing- but none of that would convey the simple sentiment that if there’s even a tiny piece of you that likes progressive music, you owe it to yourself to pick this one up wherever you can find it.

Mostly magnificent – 92%
If I know anything, Iceland’s Potentiam has remained solidly behind their fellow countrymen Sólstafir as far as popularity goes ever since either of the two gained any international recognition. This is wholly unjustified – and recently, with Potentiam apparently taking a break, the situation has grown even worse. I don’t mean to say the two bands sound too much alike, nor that Sólstafir isn’t good; only that Potentiam is better.

This album is a compilation of two demos recorded before and after the ‘Orka I Myrkri’ full-length, and if that album sounds anything like this, I have to get my hands on it. The music here is melodic, slightly folk-influenced post-black metal. Yes, the definition could mean a lot of things, but to clarify: this is like a more melodic and complex viking-era Bathory with some noticeable Gothic elements and generally higher tempos – especially in the chronologically later tracks. The songs are lengthy but avoid excessive repetition, the main emphasis being on lead guitar and keyboard melodies as well as band leader Eldur’s beautifully harmonized clean vocals. These sound amateurish in much the same way as Quorthon’s, but offer a lot to listen to, and the voice fits in very well. At times harsh vocals are also heard, but not as an essential part of the music but merely for effect.

Not surprisingly, since the two demos were also released individually, each half of this album begins with strong tracks. First half ‘Elysium’ is the better one in my opinion – convincing, atmospheric melodies and solid songwriting throughout with only ‘Eternity’s Dark Embrace’ being something of an oddity in its “dark waltz” nature. Album opener ‘Elysium’ in particular would make most bands in this style jealous. The latter half is more upbeat and rock-inspired, musically straightforward and as such, less interesting to these ears. ‘8 for Holy Rebels’ and ‘Chameleon’ are very good songs, but the general sound is lighter and more modern, almost too much so. The biggest problem, however, is drummer Gudmundur Óli Pálmason. I refuse to believe he’s the only skin beater in all of Iceland, but why else would both Sólstafir and Potentiam use him? He’s very hasty, can’t keep a steady beat and only seems to know three or four different drum patterns. Luckily the man only appears on the latter half.

Other than Mr. Pálmason, the musicianship here is fantastic. Not that the style actually requires any miraculous technique, but every band member fills his post without flaw, being often much more than merely an accompaniment to vocals. The compositions and arrangements open slowly with multiple listens, and offer new, surprising treats to the listener each and every time. Also the production is nearly perfect – and why wouldn’t it be, seeing that most mixing and mastering has been done by band members themselves. On occasion, the vocals are this close to being buried under a wall of guitars, but this never actually happens. Overall, there is just a tiny bit too much emphasis on high frequencies (such as cymbals, that are at times overpowering), but I happen to find it largely insignificant.

I for one am very glad that this compilation has been released. To leave songs of this caliber without proper exposure would have been inexcusable. Regardless of my trivial little complaints, there’s not one genuinely bad track on ‘Years in the Shadows’, and anyone at all into the more atmospheric side of metal would be wise to give this a try.