norilsk-antipole-reviews

Review from Metalopolis

Wed, 30 Apr 2025 22:04:32 +0100

From: Metalopolis

Published: February 12, 2025

Original Link

Poslouchat „Antipole“ je jako dýchat zatuchlý těžký vzduch v nevětrané místnosti. Vdechovat do plic toxické výpary a svíjet se v záchvatech kašle. Nehty si drásat tváře a zoufale bušit zakrvácenými pěstmi do zavřených dveří. Když však dveře povolí, je možnost se nadechnout ledového vzduchu a vychutnat si mrazivý vítr ve vlasech. Klíč k těm dveřím se nachází ve starších, více přístupných nahrávkách. „Antipole“ je nepřístupný, ale ponor do této ponuré břečky za to stojí. Chvílemi je to sebetrýzeň, dobrovolné flagelantství, ale něco to v sobě má. Nějak se k tomu stále musím vracet, vychutnávat si tu bažinu zmaru. NORILSK vychází z tradic klasického doom metalu, ale postupem času se nabalily další vlivy, hlavně post metal a sludge.

Kapela nese jméno po ruském městě na Sibiři ležícím za polárním kruhem. V oblasti se těží kovy a uhlí a město je považováno za jedno z nejznečištěnějších míst světa. Proč takové místo dalo někomu inspiraci k pojmenování své kapely? Navíc tím někým je kanadský hudebník Nicolas Miquelon. Kanada je zatím ještě samostatný stát na severu Ameriky, kde mají svých míst za polárním kruhem dostatek. Třeba mu to jen hezky znělo. Každopádně tvorba této kapely je ovlivněna arktickým podnebím, stačí se podívat na názvy starších alb. A vzhledem k tomu, že jejich stylem je doom metal, trocha té inspirace z onoho bezútěšného, toxického místa tam zřejmě také bude.

Inspirace pro vlastní tvorbu NORILSK je (jak jinak) britská doomová trojice (MY DYING BRIDE, PARADISE LOST, ANATHEMA), ale přiznávají inspiraci i v dalších kapelách, v oblibě mají například i OFFICIUM TRISTE. Jelikož je jejich styl chvílemi na hranici s funeral doomem, tak nelze opomenout THERGOTHON. Kapela vznikla jako Miquelonův one-men projekt. Pro nahrávání prvního alba se dal dohromady s bubeníkem Nickem Richerem. Jako duo nějaký čas působili, nicméně byla tam ambice působit a hrát naživo jako plnohodnotná kapela, a tak pro nahrávání ve studiu i naživo byli přibráni další hudebníci. Autorsky je to však Miquelonova záležitost.

Dosud mají na svém kontě čtyři zářezy. Už prvotina „The Idea of North“ byla kompozičně vyzrálá a obsahovala několik zajímavých skladeb včetně „La liberté aux ailes brisées“, která se svým drtivým rytmem sunula jako valící se ledová stěna. Desky „Le passage des glaciers“ a „Weepers of the Land“ byly nahrávány společně a zamýšleny pro dvojalbum, ale nakonec padlo rozhodnutí je vydat samostatně. Přičemž na první jmenované kapela zařadila spíš konzervativní skladby a na druhém více experimentovala s post-metalovými vlivy. Pomineme-li singl z roku 2022, tak aktuální deska vznikla až po sedmi letech. Nicolasa Miquelona mezitím působil i v jiných projektech a vybíral si tak potřebný čas pro uzrání nového materiálu.

„Antipole“ pokračuje již v zaběhnutém stylu, ale je patrno, že pod vlivem americké scény je nové album značně ovlivněno sludge zvukem. Už úvodní riffy titulní „Antipole“ jsou zanesené tímto zvukovým bahnem. Ale hrne se to kupředu, trochu to víří svižné bicí, trochu kvílivá kytara. Ve stejné husté toxické mlze se pokračuje i v následující skladbě, „D’ombre et de glace (l’asphyxie)“, jen se zvolní tempo. Jak je patrno, Nicolas Miquelon píše texty ve své rodné francouzštině. Škoda pro nás nefrancouzštináře. „Locus Sanctus“ je už zcela hřbitovní metal, velmi pomalý a tlačený kupředu hutnými riffy. Přesto se tam proplétá lehká kytarová melodie, chvílemi lahodná, chvílemi uši trhající. Recitace střídající se s chrapotem. Podobně funebrácký kousek je i „La chute du géant“, který ve druhé půli zajímavě graduje a zatuchlou hladinu hudebního zmaru trochu rozčeří. „Nunataks“ nebo „La fonte“ zas odhalí trochu dravější tvář. I ledová tundra jednou roztaje a na kouscích tající země začnou klíčit první rostlinky. Stejně tak v riffové hradbě „La fonte“ se místy objevují mezery v podobě lehčích melodičtějších meziher, které umožní proniknout do této těžko prostupné masy.

K poslechu některých hudebních počinů je lepší přistupovat s mírnou přípravou. Osobně jsem měl to štěstí, že jsem ke starším deskám NORILSK přičichnul již dříve. Jinak nevím, nevím. „Antipole“ je těžce stravitelná záležitost, ale dobrá, velmi dobrá. Jen asi nebude mnoho těch, co se budou chtít naplno ponořit do této ponuré bažiny.

Diskuse: zatím žádná - buďte první

Rating: 7.5/10

Reviewed by: Manatar

Review from Aristocrazia Webzine

Wed, 30 Apr 2025 22:01:04 +0100

From: Aristocrazia Webzine

Published: February 12, 2025

Original Link

Norilsk are also from Canada , although their name comes from the homonymous city in northern Siberia . Antipole is the title of their fourth album, released on February 7th.

The North Americans' proposal is rather stratified, thanks to the presence of different musical influences. Strong of a carpet of riffs inspired mainly by doom and post-metal, they thicken the sound by equipping themselves with a cavernous and deep growl, which emphasizes the cold atmospheres of the album. Between icy melodies and melancholic guitar leads, Norilsk play with contrasts between vocal harshness and bittersweet atmospheres, which evoke a sense of loss and desolation. The dualism between emotions is therefore the main cornerstone on which Antipole hinges, managing to embroider around it an atmospheric work in perpetual balance between post-doom digressions and a more extreme subtheme. An album definitely worth listening to, for a rather singular approach that calls upon different inspirations.

Review from Transcending the Mundane

Wed, 30 Apr 2025 21:59:18 +0100

From: Transcending the Mundane

Published: January/February 2025 Issue

Original Link

Canadian doom extreme metallers Norilsk started this career when Outrage A.D. vocalist and musician Nicolas Miquelon and drummer Nick Richer started the band in 2012. They have released four albums; including 2015’s The Idea of North, 2017’s Le Passage des Glaciers, and 2018’s Weepers of the Land, all on Hypnotic Dirge Records. It’s been a long seven years, but they’re back with their new album, Antipole. The eight minute title track opens Antipole and effectively combines doom, death, and black metal into one unique sound. The guitar tone on “D’ombre et de Glace” is totally reminiscent of old Paradise Lost and that continues with the doom laden and expressive “Locus Sanctus.” The steady drum beat of “Nunataks” easily draws the listener into Norilsk’s world. “La Fonte” has an awesome main riff. I feel like this is the band’s best work yet.

Review from Headbanger Reviews

Wed, 30 Apr 2025 21:53:45 +0100

From: Headbanger Reviews

Published: February 11, 2025

Original Link

The chilling embrace of winter is something that metal has long sought to embody in many of its different forms, and it would be wrong for anybody to claim that there has been quite a bit of success especially in the worlds of doom and black metal. When done right, the great snows are done immense justice and loads of intrigue are brought to the table as many themes of sorrow, death, and beyond can be encapsulated in the intensity and macabre serenity. It simply needs a band that’s able to deliver such talent. Having made themselves a name to know and respect for over ten years now, it’s with their forthcoming effort that Norilsk stands monolithically tall as a band that embodies the very best of what this corner of the underground can be.

We are fortunate to be living in a time where we have no shortage of interesting acts of death-doom for all that the style has to offer with there always being a name that has put out something flavorful and interesting for us to sink our teeth into with each release offering something that the others do not. Delivering wintery doom like few others out there, the return of Norilsk signaled the return of greantess for many of us with the reality of “Antipole” being something that should surprises new and old fans alike for all that was dared to be brought forth and executed with such mastery. A powerful blend of death-doom that is never once afraid to delve into other styles to bring some real flair and grandeur into the mix, everything that is “Antipole” tackles duality in its many forms with it being reflected gorgeously in the music itself. Beautifully ebbing and flowing from a more patient execution that’s able to crank the speed while always enabling this record to maintain its soul of death-doom while simulatenously making for a listen that delivers in far more ways than just slow volumes of a dark death. Rather, “Antipole” stands tall as a work that demands commitment. To understand every given facet of this work is to become intimately familiar with all that greatness has to offer when its harnessed and honed in a brilliant way while keeping your mind open to other influences worming their way in and enhancing your work. That’s something the underground can do in exemplary form when allowed, and Norilsk has delivered it in such a form that cannot be deemed as anything short of masterful.

Compelling and utterly addicting once its hooks latch into your very soul, wintery doom has been given extreme justice for all that was put into this record. The very snow on the side of the mountain underneath the stunning tapestry of the night sky has a massive role to play throughout the whole of “Antipole” with the work simply stunning from front to back. Norilsk has never been a name to deny in any form whatsoever, yet it is with each given minute detail of “Antipole” that the fourth full-length album from this Canadian act stands as one of the best to date if not their very best as a whole.

Reviewed by: Vinterd

Review from Angry Metal Guy

Wed, 30 Apr 2025 21:50:37 +0100

From: Angry Metal Guy

Published: February 11, 2025

Original Link

By quirk of circumstance, Antipole is the third French-language album I’ve reviewed in a row. Norilsk break the trend in one way, however, as they are Quebecois, not French. Antipole is also not a debut (as my other 2025 subjects have been); far from it, Norilsk being a fairly established name in the Canadian death/doom sphere. With an approach that broadly leans towards the grit and grime of the two genres—rather than the grandiosity or beautification of either—but a tendency to flirt with post, they have garnered appreciation as solid riff-deliverers who can still keep things a little interesting. As its name might suggest, Antipole is a study of opposites, with the promo sheet highlighting the dualities Norilsk explore both conceptually and literally through the music’s evolutions. Such polarities are, in fact, key.

If not granted much attention, Antipole is serviceable doom-y death; deviations from the template rare enough to be forgettable. But it was when my listens moved from passive to active that problems began to emerge. Under a camouflage of unremarkability—a problem in itself—the true colors make themselves plain if you really look. Most melodies become frustrating in their wasted potential; most riffs lack presence; the overuse of essentially spoken-word delivery of the growled vocals gets ever more grating. But the greatest issue, encompassing all others, is that the compositions feel flimsy whereas they ought to feel hefty—instrumental and vocal elements not harnessed to their full potential, and highs dropped in without justifying set-up. Duality is one thing, but disjointedness is another, and it is the former that characterizes Antipole. But it is not a dynamic kind of disjointed—such as one might find in overambitious technical extreme metal—but quite the opposite: an apathetic lack of follow-through that’s insidiously vague, but ultimately brings the above problems into even sharper relief.

Norlisk severely underuse key building blocks of both doom and death.1 Rather than harnessing song lengths to execute builds and releases, to hint, deliver, and reprise refrains, they often repeat empty phrases (“Antipole,” “La chute du géant”), and simply switch into unearned flourishes (“Locus Sanctus,” “La fonte”), or discard a melody for stripped-back flatness (“Nunataks,” “Un chant pour les morts”). Instead of complimenting weighty riffs with soaring themes, or doubling down in grimy dissonance, (most) melodies are thin, barely develop, and carry about as much emotion as a bank statement. The emphasis on spoken word and approximately spoken or whispered delivery for harsh vocals gives much of the music a disinterested, placid effect, while the instances of more aggressive barking come across as put-on if not passable—though they are soon supplanted by the dominating whisper-growl anyway. Individual pieces—a groove here (“D’ombre et de glace (l’asphysxie)”), a riff there (“Nunataks”), the rare appearance of coherent thematic development in a beautiful solo (“La chute du géant”)—are good. But while shrouding the disconnection and the tameness at first blush, soon they make more evident how exasperatingly under-developed the whole is. These highlights themselves lose their sheen like gold dust in a pile of ash–not worth getting excited about, when you have to trawl through the rest to catch them. Let not the embed fool you: it’s possibly the best track.

Everything contained within Antipole is serviceable, but those stand-out elements prove that Norilsk are capable of much more than serviceable. Where they flirt with post (“Un chant pour les morts”) or a more energetic melodeath (“Locus Sanctus”) the music gains a hint of intrigue, but it loses it just as quickly because Norilsk don’t do anything with it, and settle back into comfortable, unremarkable death-doom. Some inconsistencies in the mix possibly contribute to the album’s problems. Harsh vocals sometimes fall back behind the guitars and percussion, meaning that when they would otherwise sound very good, with their resonant growls, they instead end up a little choked and feel non-committal. However, the spoken-word vocals usually appear right at the front of the mix, though they do not possess the requisite gravity for this prominence, and it makes them and the music accompanying them feel somehow flat. When the music is neither crushing enough to warrant a dense production—though at times it pretends to be—nor dynamic enough to justify a spacious one—though, again, attempts are made—the mix never feels just right; to my ears anyway. Perhaps Antipole has just driven me insane.

With apparent appreciation for Norilsk in the underground scene, and some stand-out moments—particularly on the front end—the true face of Antipole turned out to be an immense disappointment. There are approximately ten minutes of good death-doom hidden amidst the full 48, and whether or not this suffices to give Antipole your time is up to you. Maybe Norilsk have fallen from grace; maybe the fans were simply wrong all along.

Rating: 2/5

Reviewed by: Thus Spoke

Review from The Headbanging Moose

Wed, 30 Apr 2025 21:45:30 +0100

From: The Headbanging Moose

Published: February 5, 2025

Original Link

Canada’s own Atmospheric Doom/Death/Post-Metal entity returns with another imposing album, exploring the concept of duality, flowing between slow and faster songs while highlighting the contrasts in death and doom.

Named after Siberia’s northernmost city, Норильск in Russian, home to the world’s largest heavy metals smelting complex, Gatineau/Hull, Quebec-based Atmospheric Doom/Death/Post-Metal band Norilsk blends slow and crushing riffs, death growls, icy melodies and atmospheric arrangements in their music, drawing inspiration from the 1990’s doom-death scene, while incorporating a heavy dose of eclectic and contemporary influences. Now in 2025 the band formed of Nic Miquelon on vocals and bass, Tom Hansen and Matt MacIvor on the guitars, and Nick Richer on drums and backing vocals is back with their third full-length opus, titled Antipole, the first album to be recorded by all four members of the band. Mixed and mastered by James Plotkins at Plotkinsworks, with drums recorded and mixed at Wolf Lake Studios by Mike Bond with assistance from JP Sadek and edited and mixed in The Bond Cave, guitars and bass recorded by Tom Hansen, vocals recorded by Topon Das at Apartment 2 Studios, and displaying a classy artwork by Adam Burke of Nightjar Illustrations, Antipole is also the first record that Norilsk have been extensively rehearsing, and working on the arrangements together before entering the studio, resulting in a much bolder, tighter and heavier opus than their previous releases.

The metallic sounds blasted by Nic, Tom and Matt match perfectly with the hammering drums by Nick in the title-track Antipole, exploding into a darkened feast of Doom Metal with deep, devilish vociferations, followed by D’ombre et de glace (l’asphyxie), which is French for “of shadow and ice (asphyxiation)”, another rumbling creation by the quartet overflowing doom and fear led by the striking riffs by Tom and Matt. And Locus Sanctus, or “holy place” from Latin, starts in a sinister, serene manner before the band smashes their sonic weapons once again, resulting in one of the most sluggish songs of the album, with Nick stealing the show with his thunderous beats.

Nunataks, from Inuit nunataq, is the summit or ridge of a mountain that protrudes from an ice field or glacier that otherwise covers most of the mountain or ridge, and the band puts the pedal to the metal musically speaking, offering a thrilling fusion of Doom and Death Metal with captivating Post-Metal elements. Then get ready for an intense ten-minute musical voyage entitled La chute du géant, or “the fall of the giant” from French, kicking off in the most lugubrious, pensive way and flowing smoothly while at the same time piercing our minds mercilessly until its ethereal finale. In La fonte, or “the source”, Norilsk go full Post-Metal, with the heavy bass by Nic walking hand in hand with the classic drums by Nick, albeit not too exciting in the end. And lastly we have Un chant pour les morts, or “a song for the dead”, a pure Doom Metal onrush sounding absolutely heavy and grim thanks to the raspy roars by Nic.

The quartet has assembled a brand new chapter in their discography with Antipole, building on the characteristics that made Norilsk what it is today while offering something undeniably contemporary, with its slow doomy riffs, cold melodies, recognizable death growls, and a hint of Post-Metal atmosphere brought by a dual guitar interplay. Exploring the concept of duality, the album flows between slow and faster songs, and highlights the contrasts in death and doom, with its beauty and tragedy, harshness and fragility, light and darkness, reality and fiction, and its gravity and ethereality. Hence, don’t forget to get in touch with Norilsk on Facebook and on Instagram for more of their music, news and tour dates, to stream their music on Spotify, and to purchase Antipole from Norilsk’s own BandCamp, or from the Hypnotic Dirge Records’ BandCamp, EU store (and if I were you, I would go for the more than special CD + merch bundle), or Canada/US store, letting their doomed, heavy and pensive creations penetrate dep inside your blackened soul.

Rating: 3.5/5

Reviewed by: Gustavo Scuderi

Review from Blasted by Britton

Fri, 31 Jan 2025 20:12:11 +0100

From: Blasted by Britton

Published: January 3, 2025

Original Link

Here we have the fourth album from Quebec’s Norilsk. To start off, here’s a cool and totally useless story: When I was a kid my parents, sister and I went to Maine from Michigan and went through Canada to get there. When we got to Quebec we stopped and ate at a little restaurant I can’t remember the name of anymore. My dad and I ordered a pizza like we always do, and to this day that pizza is the best I’ve ever had. Quebec is not all that far for me to visit. I know somewhere in my mom’s stuff she had a travel log that has the name of said restaurant in there, along with notes of everything we did on that trip. That was 45 years ago, and it may not be open anymore, but it’s always been in the back of my mind to go back. I’m a fat man that loves pizza; I will travel there again for pizza. Maybe while I’m there I can check out Noriilsk live, because their fourth album “Antipole” is also most tasty!

The music here is more of a mid to fast-tempo form of Doom Metal. So, kind of like Candlemass and no Funeral Doom at all. Slow to faster guitars, a huge bass sound and excellent drumming is present throughout the album. The guitar solos on here are insanely good as are the few acoustic guitar parts! “Antipole” is a very catchy album too, and I was nodding my head in Metal agreement without even realizing it. There are times the album has a “Post Metal” sound, and these times are great as well. Track 6 has this sound, and it rules. The last track is very Sabbath-like.

The vocals are Death Metal in style and pretty unique because no other vocalist enters my mind as I listen to him sing. Guttural, raspy and powerful. The lyrics are in French and according to Metal Archives they are about Mythology and History.

The production is nice… clear, loud and I can’t really find anything I disliked about the production at all.

The artwork, done by Adam Burke of Nighjar Illustrations, is excellent and depicts a castle in the mountains with what looks like a gateway or portal. I could be wrong, I usually am, but that’s what my eyes see. The stars and sky over the castle are beautiful to look at. Inside the booklet you will find the lyrics and album and band info.

Until I finally make it back to Quebec, I will throw “Antipole” on to put a smile on my face. You people will all be able to get it at the end of February. The musicianship and songwriting here is top notch and I wish the band all the success in the future!

Rating: 9/10

Review from Metal Temple

Fri, 31 Jan 2025 20:10:27 +0100

From: Metal Temple

Published: January 19, 2025

Original Link

From Bandcamp, “NORILSK is known for its unique take on winter doom, where cultures and nordicity provide a backdrop for addressing other deeper concepts such as loss, mental illness, or identity with the land. On its new album “Antipole,” the artist explores the concept of duality. The album flows between slow and faster songs, and highlights the contrasts in death and doom, with its beauty and tragedy, harshness and fragility, light and darkness, reality and fiction, and its gravity and ethereality.”

The album has seven songs, and the title track is first. It has a slow, steady, and somewhat cold riff that is augmented with thick bass notes. The vocals are guttural, but not very deep, and the song gives me a hopeless feeling. “D'ombre et de glace (l'asphyxie)” is shorter in length than the previous song, and the slow, grinding pace of Doom continues, although the vocals are a little more lively. “Locus Sanctus” hears the pacing slow again, and this time there are whispers and even some solemn melodies from lead guitars. The sound is energized from a strike of lightning half way through.

“Nunataks” moves forward with a faster pace, fueled by a powerful and stalwart riff that reminds me of the cold of the Nordic countries. The vocals come alive again, and sound like an angry giant who woke from a long nap and is now in search of food. “La chute du géant” is a near-11 minute opus, giving the band plenty of time to explore the concept of nothingness. There are some delicate moments of melody and guitar harmonies here tempered in with the cold winds of despair. “La fonte” is more even-keeled and steady, and the vocals are sung in their native tongue. They use melody at just the right time, to maximize its effects.

“Un chant pour les morts” closes the album, and it’s long, and dreary. The pace is slow, and the riff gets colder as it moves along. But there are also moment of levity, like the melodic interlude that pierces the mid-section and the subtle melodies that follow. Overall, I like the approach that the band took to expand upon traditional sounds of the genre. The moments of melody, for example, are places at just the right time, to lift up your spirit when it seems to be at its lowest point. But that hardened sense of Doom still heavily permeates the album.

Rating: 8/10