Summoning - Stronghold (1999)^{Release ID: 1422}

Summoning's Stronghold is one of the very first atmo-black metal albums I had ever heard, and I think it was my first symphonic black album.  At the time I was absolutely astounded with what I has heard for the first time, altough now I give Emperor the lead in symphonic black metal, and black metal in general.  Stronghold had been near the top of my black metals list for a long time because it's a perfect album for nerds who want to be serious metalheads.  You really can't mock Stronghold for any fantasy cheese since it's such a serious and atmospheric album.

Stronghold builds itself on many of the best compositions that the band had thought of up to that point.  It was their fourth album, and their previous two already proved that they had merit and a good niche market that appealed to both metalheads and dungeon synth fans, continuing Emperor's schtick with an LOTR theme.  But this the the album where they fully fleshed it out and made the most of their atmospheric and melodic capabilities.  Sure, the album doesn't boast the kind of variety that got so many to love Burzum's Filosofem (a problem they would remedy on the next album, Let Mortal Heroes Sing Your Fame), but this album is all about strong, perfect and sometimes frightening atmospheres.  The ghosts of the elves are wailing in a low requiem mass as the synths and blackened guitars join forces with a slow pace backed up by a clever drummer who adds his own epic layer to each song.  I guess if I had to pick a favorite song from this album, it would be "Where Hope and Daylight Die."

This is one of the best LOTR albums you're going to find.  The same epica and adventure is told through a powerful black atmosphere that will suck you directly into Middle-Earth, even if you're the type of metalhead that can't stand cheese.  Summoning might not be as innovative in symphonic black as Emperor, but they're essential to the genre largely for this album, and I agree with its cult status.

This isn't Black metal.  Or at least, not what I would think of when talking Black metal. Symphonic, sure. Atmospheric, kinda. Black, only in the vocals and not even all of the time. This is a very good metal record I enjoyed cover to cover with maybe a few bits of less than stellar results but never a dull moment just maybe not perfect. The symphonic elements are strong, and would almost be curious to here a full orchestra behind this but that may actually take away from the soul of the record however that does not take away what the band members are able to do with what they were given also given the time of '99. There are moments of atmosphere, but I feel that atmosphere is a very limited term that doesn't do the melody justice. There are better, more detailed terms to explain the melodies to invoke certain feelings and mood. I get a fantastical feeling, an epic story vibe in a vein of something like Lord of the Rings but not quite as mystical. There could definitely be an essay written, or even a full on novel written around the lyrics and sound of this album. Amazing, near perfect story album. 

Another gateway record for me.  The introduction to the medieval minimalism of Summoning was at first a stretch too far for my more traditional black metal tastes.  However, after sticking with it and giving it repeated listens it soon found some semblance of regular rotation and to this day is still my most visited and familiar release.

This is a tough sell for a lot of people and I get it, really I do.  Not only is this a very different take on black metal in terms of sound it is also structured on epic song lengths making the repetitive nature of the delivery a tad arduous.  Barring the opening instrumental your looking at six minutes plus here as your shortest track with more than a couple going over the nine minute mark.  I find some odd comfort in the album though in the sense that once I am tuned into the environment I don’t necessarily want to hear anything too different so I end drawn in to the record almost inevitably.

To say there’s fanfare here is an understatement.  Unlike other albums I have reviewed with symphonic elements riding roughshod over proceedings or trying to keep up unnecessarily with the more aggressive parts of the music, here the balance is great.  Despite the minimal style deployed there’s still a sense of depth to the record, like it is background music for some heinous Middle Ages banquet, complimenting the rich opulence of some of the guests whilst also giving a grim nod to the mire the servants move around in.

Whilst it might not be worthy of anymore than three stars, this record is as solid and consistent a release as you could hope to find and whilst it may bore the living daylights out of some listeners, I take great solace in every listen.