UMUR "Now, Diabolical" is the 6th full-length studio album by Norwegian black metal act Satyricon. The album was released through Roadrunner Records in April 2006. With "Volcano (2002)", Satyricon took their music in a more simple direction and that tendency is further explored on "Now, Diabolical".

"Now, Diabolical" is even more stripped down vers/chorus based than "Volcano (2002)" was, but it´s obvious that main composer/guitarist/vocalist Satyr has been very conscious about that writing method. "Now, Diabolical" is overall an easily accessible release, but the relatively simple song structures are also a slight issue as not all 8 tracks on the album are equally memorable. The album starts with the title track and then "K.I.N.G", which are both hookladen, memorable and feature infectious grooves, but it´s not more than a couple of more tracks into the album, that my attention begin to wander. The hooks in the tracks simply aren´t strong enough. The "dry" sound production isn´t doing the music any favors either.

"Now, Diabolical" is still unmistakbaly the sound of Satyricon with Satyr´s commanding and aggressive raspy snarl, the creative drumming by Frost and the trademark monumentally heavy riffing. It´s all there but it´s like all the good ideas on the album are not executed in a 100% wholeheartedly fashion. "Now, Diabolical" is still a good release touching excellence at times, but compared to it´s imidiate predecessor it´s slightly disappointing. A 3.5 star (70%) rating is deserved.

unholy I have to admit: I never cared much for Satyricon until now, despite having seen them live on their last tour. I have nothing against them. They put on a great live show, even if you’re not a fan. But, previous albums like Volcano and Rebel Extravaganza just didn’t do it for me. I could tell they were talented, but it seemed like a Frank Zappa kind of talent: nice for someone else, but not for me.

Dark Medieval Times, their first full-length album is basically unlistenable, in my opinion. Even now, it sounds like someone dropping bricks in a wind-tunnel.

But, this new album is surprisingly very good. I have become a Satyricon fan. Now, Diabolical, their 6th full-length release, is almost melodic. Not in a lame, emo-metal way, mind you. In a good, Black Metal-Meets-Melodic Death Metal sort of way. Numerous listens and re-listens over the past 48 hours have convinced me that I was overlooking a lot in the past.

The prog-metal elements that they are sometimes credited with are definitely present on the new album. No one would classify them in the Meshuggah strain of prog-metal, but they do make an effort to re-define the boudaries of what Metal can sound like. Even if it’s not necessarily progressive, the presence of a tuba on more than one track (The Darkness Shall Be Eternal and To The Mountains) is certainly not expected. Yet, Satyricon pulls it off. Somehow, brass instruments work. They add a certain grimness to the tracks and it doesn't weaken the message. Nonetheless, while unusual instruments (well, keyboards, anyway) are often present in Black Metal, I believe this is the first time I’ve heard an actual tuba.

Perhaps this new listenability is a response to their growing fame outside of Norway. Though they have not always gotten the respect they deserve for lasting as long as they have in a traditionally unprosperous vein of Metal, they were recently invited to join the Ozzfest Tour this summer (2006). Though Satyr has commented that they may turn the offer down, the invitation alone is a tip of the hat to his and Frost’s relentless vision for the band.

They have also lately been given national awards for their music and its influence within Norway. They won the Norwegian equivalent of a Grammy for their last album, Volcano, released in 2002. They've even played on live television for national audiences, which begs the question: what is it about Scandinavians that they don’t mobilize into a Holy Rage when someone in corpse paint is invited to play live on National Television? Something tells me that many other parts of he world would.

Unlike their early albums, there are none of the usual 1990’s Death/Black Metal Production issues on Now, Diabolical. No hissy guitars, no overly heavy drums, no vocals so quiet you can’t hear them no matter how high you turn the volume. Computers and Pro-Tunes have done wonders for this genre, and it alows the musicians to bring out the true art and precision that goes into a serious Black Metal album. Luckily, these days a low budget does not mean weak album production.

Songs such as the title track Now, Diabolical, K.I.N.G. and To The Mountains are a good indication of the depth of the album. They will please past fans, but this album is sure to garner a few new recruits. Though there is a feeling that this album has been crafted to do just that – appeal to a wider audience – this is not a bad thing. Elitist Black Metal fans aside, this is what any style of music needs. And besides, creating interest in Black Metal could definitely be left to a worse group of musicians.