The catchiest band in heavy music return with their signature brand of black'n'roll on Splid. Even though their title suggests a disharmonious fracture, their sound has never been more united. Splid is everything you have grown to love about Kvelertak and more.
The album gets straight to the point with a string of hair metal bangers: "Crack of Doom," "Discord" and "Bråtebrann." All of these songs focus on the power of the riff, while sprinkling sing-along choruses and duelling guitar harmonies. Kvelertak really lean into their inner Judas Priest on songs like "Fanden ta dette hull!" and "Stevnemøte med Satan"; these songs sound like direct cuts off of Screaming for Vengeance. Splid is nothing short of a melodic record that tastefully dips into the world of hard rock anthems.
Perhaps what makes Splid so satisfying is its ability to smoothly transition to and from all of its sonic components. A song like "Delirium tremens," for example, flows from its post-rock beginnings into a dizzying spell of blast beats before settling into a tidal wave of Kerry King-styled guitar solos. On paper, none of these things are suppose to work, and yet Kvelertak manage to make sense of it all.
Kvelertak aren't creating any surprises on Splid, they are simply doing it better than they ever have before, showing they are greater than all the individual parts of their sound.
(Rise)The album gets straight to the point with a string of hair metal bangers: "Crack of Doom," "Discord" and "Bråtebrann." All of these songs focus on the power of the riff, while sprinkling sing-along choruses and duelling guitar harmonies. Kvelertak really lean into their inner Judas Priest on songs like "Fanden ta dette hull!" and "Stevnemøte med Satan"; these songs sound like direct cuts off of Screaming for Vengeance. Splid is nothing short of a melodic record that tastefully dips into the world of hard rock anthems.
Perhaps what makes Splid so satisfying is its ability to smoothly transition to and from all of its sonic components. A song like "Delirium tremens," for example, flows from its post-rock beginnings into a dizzying spell of blast beats before settling into a tidal wave of Kerry King-styled guitar solos. On paper, none of these things are suppose to work, and yet Kvelertak manage to make sense of it all.
Kvelertak aren't creating any surprises on Splid, they are simply doing it better than they ever have before, showing they are greater than all the individual parts of their sound.
