NECRONOMIDOL – Vämjelseriter

Necronomidol (2020)

Tokyo’s dark idol unit NECRONOMIDOL returns to the scene with a new killer album titled Vämjelseriter, featuring new members and re-recorded old songs.

Early 2020 introduced some rather shocking news for NECRONOMIDOL fans with the triple graduation of Michelle, Imaizumi Rei and founding member Kakizaki Risaki. Leaving Tsukishiro Himari as the sole member, many wondered what would become of the group, until months later when members Kamino Nana, Rukawa Shiki and Toda Roa were revealed (as well as a logo created by the legendary Christophe Spajdel), followed up by the comeback singles, and subsequent music videos, of “Tupilaq” and “Santa Sangre”, the latter of which was certainly not for the faint of heart. Soon news of a brand new album titled Vämjelseriter with original songs and re-recorded versions of previous tracks was announced and was finally delivered on February 24, 2021.

The album boasts an impressive 15 tracks, with six being brand new and nine being redone from previous albums and EPs like 2016’s From Chaos Born and Nemesis, 2019’s Scions of the Blasted Heath, and 2017’s Dawnslayer. The album opens with “Tupilaq”, released in June of the previous year, immediately opens with a creepy atmosphere before exploding into metal riffs. “Santa Sangre”, the second of the singles, opens with a catchy synth pop beat, then descending into a chaotic flurry as screaming guitars (and a choir!) take over in the bridge and final chorus before coming to an abrupt end as the synth gets cut by white noise.

The girls shine gorgeously in “Celephaïs”, “Salem” and “R’lyeh”, where the emotional impact weighs heavily in the mood of the song; these serve as the softer side of NECRONOMIDOL, employing a sense of melancholy through compositions similar to that of funeral marches and lyrics that speak of final goodbyes and closing chapters.

The new version of “Warabeuta”, which is my favorite on the album, hits harder in the upgraded instrumentation that contains a beautiful mix of heavy metal and synth that accentuates the war-torn world they’re creating. Another treat is the new version of “Sarnath” that features original spoken word sections from Himari alongside an stronger instrumental, especially when it comes to the chorus, which helps in engaging the listener with a sense of terror and doom.

“Necropolis” and “Ritual” (which got a music video prior to the album) especially stand out in that when NECRONOMIDOL goes for heavy metal, they go for absolute gold, with the latter having a black metal sound akin to that of the modern day scene. Darkwave and synth rule the worlds of the tracks “Nyx”, “Ex Oblivione”, “Phantasmagoria Cosmos” and “Cassilda”, rounding out the array of musical styles NECRONOMIDOL can excel in, be it with cheerful, magical girl energy or a horror film-like soundscape.

All in all, this was a solid album to introduce the new unit in, and what looked to be a promising lineup for the future. It’s unfortunate, then, that now the group has re-entered a hiatus period and has seen the graduations of Shiki and Roa so soon. Yet, we’ll be able to look forward to the new unit making their return on the 27th of this month.


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