Written: 22nd February 2025
Russian atmospheric black metal band Grima first came to my attention with 2021’s Rotten Garden, which became one of my favourite albums of the year. They followed this with the excellent Frostbitten in 2022, which further expanded on their sound. Vocalist / guitarist Vilhelm and guitarist Morbius form the core of the band and they are joined in the studio (and during live performances) by drummer Vlad and bassist Serpentum.
Nightside is Grima’s sixth full-length album and it continues the development of the band’s approach that was established on Frostbitten. Grima comment, “Our music is a ritual of reverence to the ancient magic of the forest, an endless dance of mysterious entities and ancient spirits, a beautiful and terrifying legend cloaked in the form of Siberian Atmospheric Black Metal.”
Opening the album, short instrumental Intro (Cult) immediately introduces us to some of the interesting nuances that are scattered throughout Nightside. A feeling of icy desolation is established from the first moments with a solitary guitar and sombre slow drum pattern welcoming us to the world of the Siberian forest. Grima make use of bayan (a Russian accordion) as the track progresses, introducing us to the folk embellishments that make important contributions to the album at different points. An instrument that adds an eerie quality to the track, it leads us towards the first song proper with an enticing maleficence.
Beyond The Dark Horizon begins with a menacing rhythm, layers of instrumentation and is testament to Grima’s ability to blend traditional black metal elements with atmospheric hints. Fast-picked riffs sit above the more melodic undercurrents of the song. What is noticeable from the start of the record is just how well the production serves the depth and scope of the music while still allowing Vilhelm’s vocals to be easily heard. With guttural roars and higher shrieking vocals, he varies the deliver of his lyrics, all of which are in Russian. The closing guitar solo on Beyond The Dark Horizon is euphonic but retains the dark feeling of the track, beckoning us to follow. It is an opening track that gives a good indication of what is to follow.
Flight of the Silver Storm announces itself with majestic, regal chords as if in fanfare of something or someone of note approaching. These continue for the first ninety seconds until the band attack in unison, Vilhelm with added menace in his vocals. The feeling of scale continues as the background synths help maintain a breadth of sound that is a large part of what makes Grima’s take on black metal so appealing. Vlad’s drumming takes on a new intensity as blast beats trade blows with guitars and bayan. In the band’s words, “Flight of the Silver Storm is a sorrowful legend meant to warn those who have lost their fear of nature's dangers. The song tells the story of a traveller who boldly sets out to cross an unfamiliar forest confident that the starry sky will guide his way.” Throughout, melodic accents bring shade and colour to the otherwise glacial salvos. During the final minute, the instruments fall away and we are left with lush synths and chilling piano that make us feel as though we are looking over a bleak landscape as the storm recedes into the distance; the wind falls and stillness returns with the listener wondering if the traveller survived.
Skull Gatherers adopts a slightly more straightforward approach from a rhymical standpoint but the tenebrous, hyperborean auras remain. The grandeur and immensity of the album are fully highlighted here and the unusual motifs of the bayan (which is sensibly not overused across Nightside) give something unique to the album. Such is the sound and make-up of the instrument that when it is used to end the track, you can almost hear it being physically played. Grima states, “Skull Gatherers tells the story of particularly devoted servants of Grima, who are dedicated to harvesting trophies from the bodies of the deceased and weaving them into an endless collection. The song transcends listeners into a realm of nocturnal shadows, rugged nature, and mysticism – the perfect soundtrack for those prepared to confront what lies beyond the boundary between life and death.”
Impending Death Premonition sees a return to blast beats and there is constantly underlying motion in the darkly enchanting synths and inventive lyrical guitar work, which sits in elegant juxtaposition to some of the most anguished vocals on Nightside. Adding another distinction to the album, Impending Death Premonition features the use of strings, acoustic guitar and the use of clean vocals during the song’s beautiful choral conclusion. Without doubt, some of Grima’s work makes use of progressive flourishes and during the glorious central section and latter half, this track allows them to experiment in such a way.
On Nightside, Grima are honouring the spirit of the Taiga, the vast larch forest of Eastern Siberia and tracks such as The Nightside and Where We Are Lost (the two longest tracks on the album at seven and half / six and half minute respectively), there is an aura of exploration. Even though it is somewhat evident on the shorter tracks, Grima use these lengthier pieces to visit an array of timbres and tones, with The Nightside the most epic sounding piece.
During its opening section, Curse of the Void offers something totally different both in terms of atmosphere and instrumentation. Crystalline guitars and higher pitched synths combine in an intoxicating rhythm that is reminiscent of falling raindrops colliding with something metallic in tuneful exaltation. This motif continues as slower, chugging guitars join, which is reflected in the steady delivery of Vilhelm’s words. Later in the track, these deliberate, deep growls are accompanied by cleaner, choral vocals bringing further mystery to the track. The final guitar is one of the best on the album and as it fades away, we are left with mysterious piano and synths that leave us with a feeling of complete solitude and seclusion.
Penultimate song Mist and Fog broadens the sonic spectrum of Nightside, albeit with the insularity brought to bear by the conclusion of Curse of the Void still lingering in the ether. It is a wonderful example of how Grima are able to build emotion and feelings of tension within their music. Vilhelm’s vocals have a gritty, raspy quality like a sepulchral murmur swirling around the listener. During its final third, Mist and Fog takes on a new dimension as bayan and blast beats combine once again. The album concludes with Outro (Memories of a Forgotten Home), a melancholic, lamenting piece that allows us to reflect on the haunting journey through the forest on which Grima have taken us.
With Nightside, Grima have further explored the fringes of atmospheric black metal and confirm their status as one of the best newer black metal bands. Ranging from fierce and unrelenting to serene and introspective, it mirrors the duality of the taiga itself. Through their thoughtful instrumentation (each member of the band performs with confidence and skill), evocative atmospheres, excellent production values and the innate appeal and interesting variations of Vilhelm’s vocals, Grima has crafted an album that is both a tribute to nature and a profound musical journey. The colossal dimensions they sculpt make this an album in which one can find themselves wonderfully lost in the nocturnal, icy allure, cast adrift from everyday thoughts. An essential album for any fan of the genre.
Nightside is released on 28th February 2025
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