Marduk - La Grande Danse Macabre

La Grande Danse Macabre is the seventh full-length studio release from Sweden black metal act Marduk. For those not familiar with Marduk here’s a quick information catch up.

Marduk formed in 1990 with the simple intent to be the most blasphemous band ever. Marduk, originally formed by guitarist Morgan Steinmeyer Håkansson, has become famous for employing the same type of no-frills simplistic black metal that many Norwegian bands of the early 1990’s pioneered. Marduk have also proved that no band, with the possible exception of Immortal, has remained more faithful to their musical roots over the years. Although plagued with more line-up changes than I care to count, Håkansson has kept the band on a tight, consistent schedule of recording and touring. Marduk has managed to release two official live albums along with six previous studio albums since the band inception. That alone commands respect seeing as how many black metal bands don’t often take part in large tours and only manage to release an album every 2-3 years.

Now for the real review. La Grande Danse Macabre is the final piece of the Marduk’s so called ‘Blood, Fire, Death’ trilogy, which began with 1998’s Nightwing and continued with 1999’s Panzer Division Marduk. Even though this album puts a final cap on the trilogy, it does not pick up exactly where Panzer left off. Panzer Division Marduk seemed almost like a race for the band, who shredded at full speed for the album’s entirety. La Grande Danse Macabre is a beast of an album which shows Marduk slowing down the speed and in turn, upping the melody and the overall quality of the songwriting. The album begins with the surprisingly melodic and memorable instrumental “Ars Moriendi.” After the “calm” opener Marduk plow through song after song of pure black metal intensity. Most of the songs, including the immaturely titled tracks, “Death Sex Ejaculation,” “Funeral Bitch,” and “Jesus Christ...Sodomized” are actual quite well written and very memorable, unlike the titles would suggest. Another bonus here is B. War’s bass playing which is high in the albums mix, much like Opeth’s Morningrise album, and used to accent parts instead of just following along with the drums or guitars. The albums only real low point is the unemotional, one dimensional vocals of Legion. This is a minor problem however and its easily overlooked.

Overall this is a solid release, probably Marduk's best, which most black metal fans should enjoy to some degree. Sadly, this album will likely only reach devoted Marduk fans, which is a shame because so many people could potentially enjoy it.