Twin Obscenity—For Blood, Honour and Soil (1998)

Twin Obscenity—For Blood, Honour and Soil (1998)

Twin Obscenity—For Blood, Honour and Soil (1998)


Recorded and mixed at Sound Suite Studio from May to June 1998. Produced by Atle Wiig, Knut Naesje and Jo Arlid Toennessen. Engineered by Terje Refsnes. Mixed by Terje Refsnes and Twin Obsenity. Mastered at DMS, Marl, Germany.

Encyclopedia Metallum


  • Atle Wiig—Vocals and guitars
  • Jo Arlid Toennessen—Bass
  • Knut Naesje—Drums

Guest musicians

  • Mona Undheim Skottene—Keyboards and vocals
  • Alexander Twiss—Guitars


  1. In glorious strife
  2. The usurper’s throne
  3. For blood, honour and soil
  4. Upon the morning field
  5. The wanderer
  6. Riders of the Imperial guard
  7. The thrice-damned legions
  8. The 11th hour
  9. Lain to rest by the sword


Well, here it is… four and a quarter years after I began this project I’m staring at the cover of the final CD: For Blood, Honour and Soil the second of three albums by Norwegian black/pagan/death metallers Twin Obscenity.

I can’t quite put my finger on it, but this album isn’t your usual black metal release. It’s strangely melodic, and has echoes of Celtic Frost’s early work, with avante garde flourishes and female vocals weaving in and out of the riffs and solos. The guitars are strummed quickly, the drums beat and crash at a m, and the bass rumbles beneath it all. The album is dark but grand, melodic but atonal in places (there are a few solos like this), and keyboards gentle tinkle a haunting melody.

Melodic black metal isn’t really my thing, so to me this isn’t a great album, but it is played with passion and conviction. I can see why someone might really enjoy this.


I had hoped for an outstanding album to be my last review of this collection of CDs. But I guess you can’t have everything (I mean, where would you put it!—Steven Wright). If I was played my albums on random and this one came on then I certainly wouldn’t skip it, I’m just not certain that I’d go hunt it out.

Review score: 70%


Solgrav vs F—Kaksî Perkelettä (2006)

Solgrav / F—Kaksî Perkelettä (2006)

Solgrav / F—Kaksî Perkelettä (2006)


Solgrav: All the music written by Solgrav. Material was recorded at Varjot Audio Studios from July to September 2005, except for vocals recorded in February 2006. “Kristallitaivas” was originally released in Solgrav’s first demo, Pohjoisen hämärän sarastus in 2002, and has now been re-arranged for this recording.

F: All music and lyrics written by Ilpo Heikkinen. Arrangements by Ilpo Heikkinen and Jonas Lindberg. Recorded and mixed during December 2005 by Ilpo Heikkinen.



  • Halla—Vocals
  • Suopeikko—Guitars, bass, Jew’s harp
  • Noitavasara—Drums, piano, accordion, additional vocals


  • Ilpo Heikkinen—Vocals, guitars, bass
  • Jonas Lindberg—Drums


  1. Solgrav—Vuoksi
  2. Solgrav—Kaksi sutta
  3. Solgrav—Kristallitaivas
  4. F—Perkele
  5. F—Sokea
  6. F—Irti
  7. F—Kauhusta hautaansa kaivaa


A split EP from two vastly different Finnish metal acts. Solgrav are a blackened folk / pagan metal band from Imatra; F are a brutal death metal band from Kempele.

I rather like F’s logo, although in true black metal style you can’t really read it. It’s simply a deer’s horn that looks like an inverted F. Okay, you can read it but only if you’re looking at it upside down.

Solgrav is Swedish for “sun grave”. The name seemingly comes from an old Finnish myth about a place called Auringon Hauta where the sun falls asleep. There is actually a place in Estonia called Auringon Hauta, which is a small lake that was formed by a meteor strike. And it appears that Solgrav have changed their name from Sol grave (meaning ‘sun grave’) to Auringon Hauta (meaning ‘sun grave’).

Solgrav serve up three tracks on this EP, nearly 20 minutes of music. Theirs is a fairly stereotypical Scandinavian black metal fare with a pagan lyrical twist. There is none of the traditional folk metal, Skyclad-style folk elements of fiddles and hurdy-gurdies, flutes or bagpipes in the mix; it’s straight-up black metal: a wall of distorted guitars that plods along, overlaid with growling, barking vocals.

F on the other hand is a darker and more sinister beast. “Pekele” begins with something that sounds like it is being forged in the depths. But about 90 seconds in it unleashes a relentless barage of snare before settling down to a grinding, snarling, gargling pot of boiling metal.

Theirs is a brutal form of death metal. It takes me back to some of the stuff that I listened to in the early 90s. It is relentless and industrial and primitive and downright brutal. It’s like something from a audio horror film—not a genre that I particularly enjoy, but this is rather good.


I discovered that this was not an EP that I could listen to quickly. I tried to race through this one in order to catch up with my review schedule but I couldn’t just listen to this as background music.

This EP demanded my attention and to be present while listening to it. I’m glad I listened to that, because my first couple of semi-absent listenings left me with the impression that this wasn’t a particularly good disc. I was wrong.

While it is not exactly groundbreaking, it is very listenable and rather enjoyable.

Review score: 75%