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HALGADOM has been releasing pagan black metal and neofolk music for many years now. This is their second album with pure neofolk, the last one (Verdunkelung des Göttlichen) was released in 2002. In the years in between there has been a black metal album and one with a mixture of both styles.
Frank, the vocalist, has said in an interview that he tries to improve the music little by little for every album. And since this is the first album I hooked up since 2002, it doesn’t take long to hear those improvements. EVERYTHING is better. First: compare the albums covers arts. Then listen to the tunes... There are more clever melodies, smarter song writing, improved guitar work and not to mention the vocals. Speaking of that, by the way, there is no female left, but instead HALGADOM has invited Michael for the backing vocals.
The band has also decided to bring a drum kit in the picture that actually does more than you can imagine. The sound is much thicker due to this, and you are no longer waiting for things to happen (which was very common in Verdunkelung des Göttlichen), things are happening all the time and most of the songs reach their climax in the parts between the verses when the main guitar sets loose and is plucked with great precision. The drum playing combined with the soft guitars and the cello sometimes brings old Ostara to mind, in addition to the gang that are usually namedropped when reviewing a German neofolk album.

Two of the nine tracks on this album are re-arranged versions of tracks from Verdunkelung des Göttlichen. "Wotans Wilde Jagd" and "Gerechter Lohn". I actually think that these two particular songs are the least interesting ones on the 2002 album but with this facelift they sparkle. Especially "Gerechter Lohn" is now remarkable, with an, for this genre, almost insane tempo. The best one of the new songs is probably "Eisblume", a slower song, with many strong sides.

This is certainly the right way to travel. HALGADOM can now be mentioned among the really great bands in the genre. I think, and hope, that Heimstatt is the album that defines their neofolk. All they have to work on now is the variation; even though this album only has nine songs, there are at least 3 that sound pretty similar. But hey, that gives us 6 ones of beautiful and original, almost folk-rocky neofolk.

Sturmwoge

Of all the underground bands and labels that have come through to Heathen Harvest in the metal genre, I do believe that Halgadom & Sonnenkreuz appear to put the most money and effort into their releases. What we have here is one of the finest packaged albums, artistically, musically, and production-wise, that I have ever received. Beautiful and powerful in every aspect of both words, it is hard to imagine Pagan Metal being much better than what Halgadom has made it with the help of their mother label. And to make it all the better, the band doesn't give in to mainstream ideas and theories on the music market; they sing, speak, and write completely in their mother tongue. There are not many bands out there willing to do this whom have the ability to speak English. You can always seem to tell when a band, collectively, puts their entire hearts and souls into a release. Sturmwoge is certainly such a release, and honestly, I couldn't see the band doing it any other way after experiencing their last two releases through Sonnenkreuz. Unfortunately I was unable to catch their split with Frostkrieg, but I will find a way to pick it up one day soon.

Musically, Halgadom is slightly different than most pagan/folk bands to be found out in that particular subgenre of today. I say this because there is a very noticable lacking of the everpresent chanted clean vocals that are representative of this style. While there are very few moments of clean vocals to be found, this is almost always more of a war-like sound. In fact, though the band themselves are not (as far as I know) associated in any way with the R.A.C. scene, a great deal of the clean vocals resemble this raspy style. The harsh vocals are also catchy in their bombastic nature but at the same time they have a definite sinister side, and also include death vocals with the blackened ones which is quite another rarity in this style of music. It should also be known that the band has had diffeing styles through their previous albums. This album, Sturmwoge, is their first exclusively-metal album. The band is also closely related with the Neofolk scene.

For you Pagan metalheads out there, this is a good place to continue adding to your collection. Sturmwoge is absolutely one of my favorite releases of last year and I anticipate the next album with much anxiousness. If you're looking for more of those acoustics that you've become accustomed to from this band though, this probably wouldn't be the place to find them though they are present in a somewhat less magnitude than previous releases. This is one to support, current and past.

This is the fourth full-length recorded by this German black metal horde and my first contact with their personal version of the folk / pagan side of the black music. This is a quite original release (something really welcome in this day), very German in both sound and structure, the lyrics are also in German (and may somewhere be a brake to the band’s international recognition) and the multi-faced song-structures are excellently crafted. This is (if you can endure the strange German accent, I don’t understand why Viking / Pagan black metal music is enriched by the use of Scandinavian languages and seems quite undermined by the German one) a superior piece of folk black metal created by crafted song-writers and delivered by good musicians. It’s quite obvious those musicians are no newcomers. The guitar lines give a special trademark to the music and catch most of the listener’s attention. The production allows everything to flow well and I’m pretty convinced Halgadom, despite the use of their native language may delight tons of European Pagan black metal lunatics. I absolutely didn’t know this band before but it was a very pleasant and interesting album to discover.

Like it’s predecessor „Sein Und Werden” also „Sturmwoge“, the fourth album by German Pagan Metal band Halgadom, is released in a very beautiful digipack. This time the listener gets an album in Metal-style only, there are no Neofolk-tunes or acoustic songs. After an intro with keyboards and spoken words the album starts with the song “Neuer Adel”. The music itself is partly quite fast, very melodic and again excellently produced. This time there are also some RAC-influences in it. I especially liked the guitarwork on the album, you can hear that guitarist Frank is an excellent musician. We get to hear a new man on vocals who manages to sing even more varied than his predecessor Sebastian. The vocals range from screams over Death Metal-like grunts to heroic clear vocals which fit perfectly to the very melodic songs. As much as I liked the previous three Halgadom-albums I have to say that „Sturmwoge” is the best release from the German band. I have no idea how Halgadom will manage to top this album!

Sein und Werden

For those of you whom have been interested in Halgadom for a while (or a short time for that matter) but have not yet had the chance to hear them, Sein und Werden would probably be your best bet for a starting point. The reason being is that it encompasses the band's two big song-writing aspects: Pagan Black Metal and Neofolk, meaning that Sein und Werden comprises of both worlds. The newest album, Sturmwoge, consists of only metal tracks while the previous album Verdunkelung des Göttlichen is strictly neofolk. Their self-titled debut release from 1999 also comprises of both worlds but is incredibly hard to find. Also, with all of these neofolk references, it is interested to mention that bassist Marcel is also involved with the acts Von Thronstahl, A Challenge of Honour, and Allerseelen. Quite an impressive musical folk resume.

Just like the newest release, everything about this album, whether spoken or written, is done in the band's Germanic mother tongue. So for an English reviewer whom knows only scarce bits of Deutsch, my abilities to tell you the stories and surrounding circumstances of Sein und Werden is quite limited. I do know that the word Werden means 'become', and judging from the album cover this could mean several different things. It could mean to decay away and become something new, to absorb into the earth or manifest yourself as new life. It could mean to literally shift into a new form. It could mean to let go of your false natures and become whom you really are. The albums is also split in two: The Nefolk section being labels "geist" (or ghost/spirit), and the metal side being labeled "Materie" (or material/earthly I assume...this word I am not familiar with). Take from these two words and separations what you may, but despite the tens of meanings that this album could possibly have, there is one true fact about this album: The music is incredible and beautiful as is everything Halgadom seems to put out.

The metal side consists of the band's subtle progressive reaches (drum-wise) combines with their unique blend of pagan black metal that they alone are really known for. No one writes the music in a similar fashion to them. The music is never so much atmosphereic as other pagan bands, as it is brutal and unforgiving in its splitting riffs and lashing, sometimes bombastic drums. Indeed, Halgadom's metal side is much more uncompromising than acts of similar views, and they certainly have a war appeal to their music that really works to suit them and their general demeanors. Sonnenkreuz has a great start with Halgadom and I hope to see both band and label grow through the years into a strong bond and partnership.

The German Pagan Metal band Halgadom present their third album. Where the debut was Pagan Black Metal and the successor pure Neofolk, the new release is a well-balanced mix of both musical styles. The album contains of two chapters. The first one, entitled "Geist" (spirit), contains five folk songs, the second one, "Materie" (matter), Pagan Black Metal. And for both styles a clear improvement can be noticed. As for the folk part, the compositions are more mature, a violin supports the acoustic guitar, the vocals are in two voices (male and female) and the drums are more dominant. The metallic part is very well produced. The songs are all quite aggressive without disregarding the melody.

The overall layout of Sein und Werden can only be called excellent. The CD comes in a digipack with a noble greyscale design. And as the package, so the content. Both the folk and the metal songs are first-class.

On your summer and winter solstice celebrations, HALGADOM are probably an obligatory part of the musical background. But this band is good for more than only traditional or religious events. Its Neofolk---the album includes five suchlike songs in the chapter "Geist" (spirit)---is so wonderfully lyrical and the melodies so pleasant,that it should fit nearly every cause. Also the very nice way to play the instruments (acoustic guitar, violin) and of course the voice of Eva do their bit, since in contrast to many other female vocalists she just does a good job singing, without spoiling everything by trying desperately to create some kind of extraordinary singing style. The second part of the CD, summarized in the chapter "Materie" (matter), is pure Pagan Metal. The melodies and arrangements here are simpel, but it's just this simplicity that makes them amazingly effective. To see the messages behind songs like "Das Hügelgrab" (The Tumulus), "Runenkraft" (Rune Power) or "Stahl" (Steel) would be much more difficult if they were hidden among instrumental silly pranks. And talking about this: the texts can strengthen you. There is more to life than the sick, declined establishment tries to tell us. In order to find fulfillment and satisfaction it is not necessary to roam the labyrinth of modern times. Some ways go straight ahead. But it takes some courage to walk them.

Halgadom. This name stands for itself because no other group of the German underground might heat up our minds as it is the case with this 5 people. Their connections to Absurd, their openly presented nationalism and the “Kulturkampf” that is fought in the worldwide data banks have caused on the one hand that they are adored; on the other hand they’re damned and hated. I don’t want to take a stand on any political views – as usual – in this review, but rather concentrate on what the release of a new album is mainly about: the music.

The debut was basically intended to show Halgadom in quite a cheeky shape and they offered a kind of Pagan metal with soft RAC influences. But with “Verdunkelung des Göttlichen” they took distance from that style totally and turned to purely neofolk tunes. In “Sein und Werden” you find the one and the other style of music, though they don’t mix it, but divide them in a concept of spirit and substance. The first five songs – completely in neofolk manner – represent spirit whereas the last five songs – all the metal pieces of this disc - embody substance.

Concerning the neofolk pieces you can utter that Halgadom – in comparison with “Verdunkelung des Göttlichen” – have stated a definite improvement musically as well as in production. In addition to the acoustic guitar you can hear a well-sounding violin and the male singing is comfortably added by a female voice. Halgadom’s strength lies clearly in the way of creating a very nice, slightly melancholic atmosphere that knows how to convince by its naturalness because of using simple devices and no big technical employment. The “simple-but-effective-principle” works out and invites the potential listener to be enchanted by the simple, but also impressive melodies.

Well, the metal pieces weren’t my part, though, in the beginning; because the presented style has nothing in common with the neofolk tunes of the first chapters of “Sein und Werden”. Brutal Pagan metal – like on the debut – but in a better melodic form, booms directly into your face and you feel as if the hot water was turned off when having a shower. Nevertheless, you get used to that break of style pretty soon that Halgadom can be “blamed” for. As usual, they don’t dare too big experiments, but focus on what’s possible. In this way, each piece turns out to be a little pearl with the character of a catchy tune whereas especially the song “Stahl” develops as a long runner. Furthermore, it’s remarkable that the croaked singing is steadily easy to understand making everything a tone better.

Moreover, I would like to say additionally to this release that the optic design has a very extravagant and lovely effect and that “Sein und Werden” leaves an impression of an album being put heart and soul into it.

Upshot: Halgadom have managed a very, very well-done third-party opus with “Sein und Werden” being interesting for friends of neofolk, but as well as for those liking Pagan metal.

On the third album of Halgadom, there’s a successful mixture of the two music styles that were represented on the first or second disc. It was Pagan Black Metal being presented on the debut; very primitive and brutal. The quality of the record wasn’t the best, but suitable. The singing of Sebastian, who could give proof for his ability with Wolfsmond and other bands, creates an atmosphere that only he is able to do. Right from his first band on his singing does indeed fascinate me as well as the style as every song enforces me to join in. There have already been plucked guitars with spoken verses creating a certain mystical atmosphere. Suddenly, on “Verdunkelung des Göttlichen” no more metal or other harder influences were audible. Instead of Sebastian, beautiful feminine singing sounded mixed with Frank’s deep voice – the inventor of Halgadom – who, in addition, turned out responsible for the guitars. As already said, there’s a mixture of both on “Sein und Werden”. Well, now I’d like to say something about the exterior and the lyrics. All alone this justifies the purchase of this disc, to my mind. It was packed into an extravagant grey-shaded digi-pack and provided with pictures close to the lyrics’ theme. Partly heroic and partly mystical, but yet hidden in a grey veil, in order to have a closer look to see what’s behind. The lyrics deal – as most people will suppose – with gods, wars, sun wheels and runes and they let you realise that Frank and Sebastian are very busy with the ancestors and gods of ancient times and not superficially telling about it. The beginning with “Sein und Werden” is launched by a guitar’s part being recorded acoustically. You feel right away that great store was set by quality – more as with the predecessors. To ban such a clear sound on CD you need a quite good studio. It was provided with a violin and a base making the introduction not only sound more interesting, but much more powerful, either. By the way, the violin is audible with the following 4 songs as well. After that introduction there are 4 pieces in the neofolk style as it could be heard on “Verdunkelung des Göttlichen”; beautiful feminine singing combined with Frank’s deep voice. More professionalism can be seen here, too. My favourite song is “Gott in uns” – it spreads a desperate, but heroic mood that you really feel like singing, too. A piece, really appropriate for a campfire. “Weg durch die Zeit” is something I enjoy, too, and which will, for sure, sound out of my boxes several times from now. You get shaken awake by “Hügelgrab”, the first of the five Pagan Black Metal songs on this disc. Immediately, you trap into another emotional world. You feel how power comes back to you, put your fist in heaven’s direction, shake your head according to the drums that beats time in a mid-fast way and join in singing aloud. This and no other way this kind of music has to be. Working its way heroically and proudly. Only the title song got a returning brutal part – despite the atmosphere. It’s a pity because the song might be quite good, even if a little bit too little varied then. “Totenritus” is the best piece of “Sein und Werden” that is also free for download on the website of Halgadom. All in all, Halgadom’s new disc is a successful mixture of two styles that are perfectly combined. It would be nice if some pieces showed both styles in one song, though.
11/13

After a long time of waiting and announcement on the part of Halgadom, “Sein und Werden” – Halgadom’s third opus – was finally published. This time, it deals again – such as with the first opus – with a mixture between neofolk and metal pieces, whereas Sebastian (also member of Wolfsmond) is busy with the metal pieces and Frank with the neofolk songs. The five neofolk songs make a start and they already show certain differences to those from “Verdunkelung des Göttlichen”: it’s striking that the acoustic guitar is accompanied by a violin now making the music much more interestingly designed and the feminine singing exists again – like on the preceding opus -, but this time more superficial. In addition, one should point to the recovery of the song Sonnenwende that was already to be found on the first album. There are the metal-like pieces right from song 6 on that do even surpass the ones from Halgadom’s debut. In comparison to the debut, the production has improved many times over and the quality of the songs has noticeably risen. It’s especially the guitar riffs that have become very catchy. All in all, Halgadom succeeded in doing a very colourful album that could scarcely be better. The design was managed well, too: a digi-pack with a booklet and all lyrics. This album is recommendable for every fan of heathen metal who’s not afraid of listening to neofolk sounds. This is about a very varied and good mixture anyway.

Before beginning with the actual review, I would like to go into the ideological background. Here, it’s absolutely indifferent to me whether most people consider this crew as “politically incorrect” or not. Halgadom is simply one of only a few metal groups that I personally appreciate for their serious occupation with the other, spiritual world. Quotations, for instance, offer evidence for this in the double-hinged cardboard box. In a forest of faceless metal groups only trying to perform current clichés until one is exhausted, Halgadom (with a few other exceptions) represent a welcome and supportable alternative. That about this topic. The meanwhile third disc is composed of two different parts where the first five songs stand under the sign of “spirit”. It’s about pure neofolk pieces that don’t sound as bard-like as those compositions from the ingenious album entitled “Verdunkelung des Göttlichen”. The music is somehow more modern despite the violin, however, the sounds stay in the neofolk range, though. Skilful feminine and masculine clear singing dominates the scenario with drums, acoustic guitars and some violin (such as with “Weg durch die Zeit”). “Hyperborea” launches the opus, it has a calm and cheerful effect without any vocalic background. The clear feminine voice prevails in “Wenn Sonnenräder leuchten”, although – even if more silent – masculine voice exists as well. “Gott in uns” turned out calm and a little bit melancholic, at least at the beginning. “Sonnenwende” is a re-production of the original that is on the debut. This time, there’s also some violin, drums as well as feminine vocals. The following “Weg durch die Zeit” belongs to my favourites from this pole of the disc. To my mind, the folk part couldn’t surpass the songs of the very marvellous and preceding “Verdunkelung des Göttlichen”, indeed. It wasn’t easy – of course -, but these pieces here know to please, too! The “substance” part comes in now being completely metal-like; to be more exact I would like to employ the description of heathen metal. There are some further five songs sounding quite aggressive by Sebastian’s harsh and specific voice (he’s also known from other projects, for instance Wolfsmond) and by the quicker speed. It’s not only about a necessary portion of aggression, but also about a few (guitar) melodies, some mystical and leading moments. The drums draw positive attention because they don’t sound as weak as if played on a cookie tin; it has the necessary depth and penetration. I’ve already said something to the design, being left that all lyrics are printed. By the way, on the homepage you find some songs as mp3-files. Just enter http://www.halgadom.org/. The disc itself is available for 13 € (including postage and packaging) at: Halgadom, PO box 4154, 53767 Hennef, Germany. E-mail: webmaster@halgadom.org.

Finally, it’s accomplished and now I hold the third and the most brilliant pathetic effort of this German group in my hands. Well, in the run-up, I didn’t think that the second album “Verdunkelung des Göttlichen” could be beaten anyway, but quite the opposite! Frank took 3 further companions in the band besides Sebastian who was busy with the singing in the first album, whereas the violin was employed remarkably in the folkloristic songs and symbolizes a completely new element in Halgadom’s creative activity. The album is divided into two chapters entitled “Sein” and “Werden”, meaning that the first one consists of folkloristic songs and the second one rather of metal songs. The first chapter is introduced by an instrumental beginning and then, four wonderful songs of female and male voice are presented. The songs that should be listened to are “Gott in uns” and the newly recorded “Sonnenwende” that was already to be found on the debut and which was one of the highlights to me back then. No sooner that the last tones of the fifth song “Weg durch die Zeit” vanished, the crunch has definitely come and now I already hear the enthusiasm of those who missed the metal songs on the second album. Middle fast heathen metal is presented with Sebastian’s ”tough” singing. Compared to the songs of the first album, these ones are much more ingenious and the production (as with the folkloristic songs, too) has improved since then. There’s also a change in the lyrics, alongside the musical break, that I wouldn’t describe as that poetic any more, such as the folkloristic ones, but that doesn’t imply neither a primitive nor a dull vein (quite the opposite). The lyrics of the song “Stahl” might also fit to Sebastian’s other crew “Wolfsmond”. My favorites and recommended songs in this chapter are “Runenkraft” and the title song “Sein und Werden”. The design of the disc is very appealing. In addition to the double-hinged cardboard box, you find a booklet of several pages including all lyrics (the lyrics weren’t printed on the second album at all and the English lyrics were excluded with the debut).

Conclusion: This disc is a “must” for people loving heathen sounds who like listening to hard stuff as well as to silent, thoughtful sounds. Fans of the last disc will probably buy the album anyway. Actually, everybody should listen to it.”

Since 1999, Halgadom have plied their dreadful trade in the German Pagan Scene. After having initially indulged in black metal-like sounds, now, one has changed completely to neofolk with the album “Verdunkelung des Göttlichen”. This is the same way the album ”Sein und Werden” is half of it constructed, but the second half of the CD serves us with hard black metal sounds. In this manner, the first five songs on the CD win you over with their fantastic acoustic arrangements. Dreamy melodies and soft singing invite the listener to a journey through his own fantasy. The songs are strongly shaped by the singing for two voices. The combination of male and female voice has a good effect and gives the songs a very peculiar mystic character. There’s also some violin with “Weg durch die Zeit” that doesn’t sound that good. But that lies above all in the artistic fortune and not in the arrangement. “Das Hügelgrab” introduces the second and tough part of the CD. HALGADOM deliver a very melodic riffing and can fill you with enthusiasm with some great and almost rock-like melody parts. The song “Runenkaft” is a real killer that irons anything coming in its way with its brute double base volley. The title song “Sein und Werden” is very rocky and offers again a grand melody part. The Germans did great work with that anthem “Stahl” and they can convince me again with many terrific melodies and a very solid riffing. Thanks to many double-tone guitar riffs, the song is given an enormous pressure and thunders brutally out of the boxes. The last song “Totenritus” delivers a very catchy riffing that serves your attention. The beautiful melodic solo passages aren’t missing here either.

The Germans offer a very great CD with “Sein und Werden”. I find the idea of a separation into an acoustic and a hard section quite good. However, the single parts could have filled an own CD each. I could do more with both sections! “Sein und Werden” is henceforth an all round perfect opus that scintillates with its great production and its first-class get-up. Alongside the beautifully designed digi-pack there’s also a thick booklet with all lyrics.

A CD being suitable very well for folk and black metal fellows. I only can recommend this disc, so listen to it!

Verdunkelung des Göttlichen

Although clearly bearing a logo that would make you think there music is within the extreme metal genre, these German’s actually offer up a beautiful album of neo folk music. Once again we learn not to judge a book by its cover.

Apart from the first & last songs the guitar is the only instrument used on the whole album (Yep one single guitar). The guitar work is very intricate and most of the riffs are very slow and beautiful sounding. In a way this album reminds me a lot of early Ulver & Empyrium’s final two creations. The song ‘Sonnentod’ especially has a very desolate sounding instrumental part in the middle of it, which reminds me a lot of the Ulver song ‘Ulvsblakk’ Of course we also have vocals, which are completely sung in German (Once again the Empyrium comparison). The vocals are interesting since both a male & female sing the words at the same time. I don’t speak German so I have no clue what the theme of the album is, but I’m willing to bet it revolves around the same topics as most neo folk bands. Other standouts include the especially catchy second song ‘Wotans Wilde Jagd’ & the beautifully depressing piece called ‘Hoch zu Roß.’

‘Verdunkelung Des Göttlichen’ turned out to be a colossal breathtaking surprise for me and since getting this album a few weeks ago it’s been in and out of my stereo constantly. Definitely a must for fans of Ulver, Empyrium, or simply for those that want to hear some nice German folk music.

My actual intention was to listen shortly to this cd before going to bed...and for one hour, I haven't got free from it. I don't want to talk a lot about it, not about the music, and not about the national background of Halgadom as well - so to speak, no review in the common sense...instead of that, I recommend this disc to anyone being pleased by acoustic, heathen ballads with Teutonic background. There's nothing left of the black-metal roots on this disc, all pieces are only recorded with guitars as well as a male and female voice and they deal with Teutonic tales. I won't say anything more than "marvellous" now...maybe, I'll speak about it more in detail when I think it's time.

Sincerely I really think to have to tell thanks to man behind this project because this new release of him has been really able to take my mind in a spiritual journey in ancient Germania and I really think that if someone would ever think to do a movie based upon “Germania” by the Pagan Roman writer Tacitus these compositions would be really adapt for it. Music is indeed really something that you will be pleased with, being completely composed by clean voice (male and female) and acoustic guitar. It’s a pity that musicians didn’t use (as for instance Hagalaz Runedance) other instruments to make songs also more various but I also think that I find this kind of compositions so fascinating just because they are really simple and for this great to listen. All lyrics are in German so I can’t tell anything about them. I feel I haven’t to add anything except tell that I really liked this work and I hope that new works will continue to keep the acoustic folk vein that for me it’s the best in this kind of pagan music.

The music of the second album hasn’t very much in common with the debut, however, that doesn’t imply that it wasn’t of a well done art. With the debut being melodic Pagan metal with thrash-like and folkloristic influences, “Verdunkelung des Göttlichen” (The Black-out of the Divine) can be called pure Neo-Folk. For creating the sound, only acoustic guitars, a few drums and male-female singings were used; the structures were enriched by catchy melodies though, finally, that makes up this music. All songs sound almost the same good, if I had to say my favourites, I would decide for “Bärenmänner” and “Gerechter Lohn”. When listening to these sounds, I feel like sitting with allied mates in the forest around a campfire at night. The topic of the songs deals mainly with the worship of our loved natural creed. You shouldn’t miss this disc. (P.)The music of the second album hasn’t very much in common with the debut, however, that doesn’t imply that it wasn’t of a well done art. With the debut being melodic Pagan metal with thrash-like and folkloristic influences, “Verdunkelung des Göttlichen” (The Black-out of the Divine) can be called pure Neo-Folk. For creating the sound, only acoustic guitars, a few drums and male-female singings were used; the structures were enriched by catchy melodies though, finally, that makes up this music. All songs sound almost the same good, if I had to say my favourites, I would decide for “Bärenmänner” and “Gerechter Lohn”. When listening to these sounds, I feel like sitting with allied mates in the forest around a campfire at night. The topic of the songs deals mainly with the worship of our loved natural creed. You shouldn’t miss this disc. (P.)

Inspired by the divine and nature’s beauty, HALGADOM published a nice Neo-Folk disc as second opus. There has been a big stylistic incongruity. Away from the brute Black metal music to calmer, more prudent and partly dark music that can be described as Folk or Neo-Folk or maybe yet as bard’s music. The lyrics are completely presented in German, the group’s head stresses that. The change may be caused by the HALGADOM guitarist and writer who has sung in and recorded the sound carrier lonely with the help of two guest musicians. His singing and the one of the two women sound really pleasant and not distorted, well done! You can’t compare this music to any other group because HALGADOM has found its own positive manner. With regard to the lyrics, it is concerned with the narration of the Edda, battles of “The Lord of the Rings” are described and it is sung about the Church cynically. The female vocals are very pleasant and somehow really good. The guitar soli are acutely worked out and the melodies quite catchy. Ten titles of Teutonic-mystical content are presented on this sound carrier. The design of the second HALGADOM opus is very good and has been created by the head of HALGADOM himself, it is quite dark and mystical as well as very aesthetic. The cd can be bought without any doubts, it stands out of the mass of average music as an independent opus.

I was very curious to hear new stuff from German Pagan Metal band Halgadom. But on this album the word Pagan Metal is not correct, as the music this time is pure acoustic. The first and the last song feature also drumming which makes the two songs sound a bit ritualistic. On the other songs only acoustic guitar is used and clear male and sometimes also female vocals can be listened to. Simple instrumentation, but really beautiful music full of heart and soul. The lyrics are in German and deal mostly with German myths. Compared to their first album these acoustic pieces sound more mature and are better arranged. Nevertheless for me personal ( others might think different), there could have been two or three aggressive metal - songs on the album, as I really enjoyed the metal – songs on the debut. I mean I also liked the acoustic pieces, maybe it was the combination of these two styles what made the album so unique, I don’t know.
All in all “Verdunkelung des Göttlichen“ is a great piece of acoustic music, but I really hope that Halgadom don´t completely stop writing and playing metal songs. The album should be interesting for everyone who likes good music, also outside the metal genre. (Michael Druml)

“Neo-Folk“ – these days almost a worn out term for a musical style living of the simplicity of natural instruments and the appropriate use of them. HALGADOM from Germany also counts to that kind, even if only after the second album “Verdunkelung des Göttlichen” (The Black-out of the Divine). Before this, one indulged in more metal-like tunes and according to HALGADOM’s website, one will tend more and more to that aspect on the upcoming album. Now to the mentioned second opus, that uses Nordic mythology as topic and even if this topic gains more and more trivia, HALGADOM yet manages to tell us nice lines about the Edda.
The used range of instruments is almost restricted to an acoustic guitar, rarely accompanied by dull drums (only in the Intro “Die Stimme der Ahnen” – “The Ancestors’ Voice” and in the last song “Runenanrufung” – “Call for the Runes”), but exactly this makes up the natural and calm mood of the album and while formations like HAGALAZ RUNEDANCE use masterfully a wide range of instruments, it’s the interest of this group to take only the most necessary musical devices in order to send the listener to a journey through Midgard. Besides the usual “neo-folkish” male clear singing that knows to please with its natural kind, two female voices are part of the singing, too, which are the male’s equal in every way and give a certain charm to the disc that is not necessarily caused by perfectly educated singers but love of nature and grace. FORSETI and SONNE HAGAL are a definite influence on HALGADOM that know how to note timeless beautiful aphorisms – mostly presented only with the help of singing and acoustic guitars. DEATH IN JUNE and DIES NATALIS were surely remarked by HALGADOM and even if it isn’t able to match the listed groups now, they will present a convincing album that calms in its own way and creates a very special atmosphere. In the booklet of several pages, you find explanations for each lyrical topic on this album instead of the lyrics (that aren’t of any need as one understands every word!), what I evaluate as well done for a home-production! (Falagar)