It hasn’t exactly been smooth sailing for the once-mighty Dark Funeral, Sweden’s self-proclaimed Ineffable Kings of Darkness, with the Bröberg repertoire increasingly having been one of diminishing returns. “Vobiscum Satanas” and “Diabolis Interium” both were efficient for what they were but from “Attera Totus Sanctus” onward Dark Funeral increasingly started to adopt death metal production values and techniques. “Where Shadows Forever Reign” is the completion of the regression that commenced with 2005’s “Attera Totus Sanctus” and reached its apex on the self-parody that was “Angelus Exuro Pro Eternus”. Is age is finally catching up with King Antichrist, Mikael Svanberg – or, more likely, was post-David Parland Dark Funeral just never all that strong in its songwriting to begin with? Dark Funeral has finally put the proverbial noose around its collective neck, and “Where Shadows Forever Reign” is where its lifeless, dilapidated form hangs from.
“Where Shadows Forever Reign” - the not exactly highly anticipated follow-up to the entirely risible “Angelus Exuro Pro Eternus”, a record that was no less than 7 years in the making - has long-running Swedish black metal formation Dark Funeral reaching the point of obvious redundancy and artistic vacuity and thus banks itself entirely on visual/linguistic cues to earlier, better recordings; and self-referential nostalgia. This is not the much pined after return to relevance with material worthy of the “The Secrets Of the Black Arts” legacy, “Where Shadows Forever Reign” continues the co-opting of death metal stylings and production techniques into what is otherwise remarkably unremarkable barely-there Norsecore that second-tiers Setherial perfected to greater degree many years prior. It’s high-time for Svanberg to consider a songwriting partnership as “Where Shadows Forever Reign” isn’t solely in the grip of the pangs of nostalgia, it’s entire raison d'être seems to hinge on making people forget the dreadful Masse Bröberg era of the band.
Like Suffocation’s “Blood Oath” before it “Where Shadows Forever Reign” is considerably slower compared to prior outings. Instead of starting off with a blisteringly fast cut ‘Unchain My Soul’ opens with ominous narration, and takes its time getting started. As such it’s a harbinger of things to come as Dark Funeral, now two decades and half into its existence, is exhausted. The chiming funeral bell on ‘As I Ascend’ greatly enhances the atmosphere, but it merely functions as a bridge towards the single ‘Temple Of Ahriman’. For the first time in history Dark Funeral pairs two slow songs in immediate succession, neither of which are particularly foreboding. “Where Shadows Forever Reign” does sound like Dark Funeral, especially on the last three Bröberg fronted efforts, but none of it is particularly inspired or inspiring. New frontman Andreas Vingbäck sounds far closer to original singer Paul Mäkitalo with his selection of serpentine rasps, slashing shrieks, and ominous ululations, than to rightly maligned former Hypocrisy frontman Magnus Bröberg. Andreas Fröberg (who has since defected) is another in a long line of completely inconsequential and interchangeable bass guitarists - especially with Svanberg handling the instrument in the studio - that nobody pays attention to. ‘Unchain My Soul’, ‘As One We Shall Conquer’ and ‘Nail Them to the Cross’ were co-written with drummer Nils Fjellström (who has since defected), but it isn’t nearly enough to shake off the rust of a decade plus of self-imposed creative stasis.
You’d be hardpressed to recognize any of this as Dark Funeral, especially the drastically lowered pace and the heavy-handed attempt at mimicking Dissection-like epic songwriting, complete with Iron Maiden-inspired leads and archetypical Swedish melodic accents. In light of a 7 year hiatus (and another overhaul of half the line-up) what could we possibly expect? A return to the golden days of “The Secrets Of the Black Arts”, the one Dark Funeral record that Svanberg had practically no involvement in? No. It’s nothing short of a miracle that Dark Funeral is still around to begin with, and their adamant refusal to go quietly into the night almost resembles Maryland’s Dying Fetus. Not everything about “Where Shadows Forever Reign” is terrible. Yet it is terrible enough to merit that most on “Where Shadows Forever Reign” either doesn’t resemble the Dark Funeral we’ve all come to love/hate, or either is a nostalgic callback to the brighter, fiercer, more agile days of “The Secrets Of the Black Arts”. Making a long overdue return is the instantly classic blue Necrolord canvas and the old title font. It’s faint praise indeed but at least “Where Shadows Forever Reign” is better on the visual front than “Angelus Exuro Pro Eternus”, which isn’t much of a recommendation in and of itself.
At this point there’s no other way of saying what everybody the least bit perceptive already knew years ago. Dark Funeral is a spent creative force, and “Where Shadows Forever Reign” is testament to its redundancy. “Where Shadows Forever Reign” is a solid enough death metal album - one that doesn’t warrant frequent revisiting - but not one you’d want to see adorned with the iconic Dark Funeral coat of arms. Not that this particular evolution is the least bit surprising or unexpected. It was over a decade coming, and now Armageddon has finally come. More than anything “Where Shadows Forever Reign” has the look of a last-minute act of restoration, a desperate attempt to invoke the spirit of the glorious past. This Temple Of Ahriman has been in disrepair for longer than was probably healthy, and “Where Shadows Forever Reign” is unable to escape the looming shadow of the superior songwriting skills of the late David Parland. It’s high time for the Black Winged Horde, these Demons Of Five, to refamiliarize themselves with what made them famous to begin with. In 2016 Dark Funeral is as declawed, docile, and unnecessary as modern day Dimmu Borgir. The real question is: when will the metal scene finally refuse to put up with mediocre swill like this? No more!
