There are more than a few intriguing stories that have been attached to the early Norwegian black metal scene; some true, some embellished to varying degrees. Perhaps one of the more tragic of these tales is that of Snorre Ruch, mastermind and founder of Thorns. His name is well known in black metal circles, but he is by no means a household metal name as some of his cohorts from the early 90’s have become. In fact, he is probably best known to most metal fans as the man who accompanied Varg Vikernes on his excursion that ended in the murder of Euronymous. He was convicted and sentenced to 8 years in prison for his role in this crime (the degree of which is the subject of some debate), derailing a promising career after the spread of his two demos, Grymryk and Trøndertun, which have become the stuff of black metal legend. After his release, Snorre released a split with Emperor, but it was not until 2001, some twelve years after the formation of the band (originally known as Stigma Diabolicum), that Thorns would finally make a full-length debut with a self-titled album.

After a lineup on the split album that included himself on both guitars, a drum machine and Satyr Wongraven on vocals, Thorns has a proper lineup that reads more like an all-star side project. Satyr, who according to Snorre was the one who convinced him to return to music after his prison release, returns to co-produce and share vocal duties with Aldrahn of Dødheimsgard. The drum kit is handled by Hellhammer, and Snorre once again handles all other instruments. The first thing that needs to be understood about Snorre Ruch is that he is a master of truly unique black metal riffing, and in fact during his short stint as guitarist in Mayhem contributed a few of the riffs found on De Mysteriis Dom Sathanas. From the very opening of the first track, Existence, it becomes quite apparent that Ruch’s time in the clink has done nothing to change this fact. His riffs, which are doused in distortion to the point of a static effect, are more unsettling than they are furious. Other than the generous helping of industrial elements, Existence sounds much like his earlier work with its piercing movement. Aldrahn, who has since become the full-time vocalist, and Satyr generally alternate vocal duties, only appearing on the same track once. Satyr’s first track is the excellent World Playground Deceit, which is once again highlighted by Snorre’s unique and eerie riffing. Hellhammer’s performance deserves mention as well, as he adopts a mechanical style that greatly enhances the sound and that, somewhat astonishingly, is completely devoid of blastbeats if my ears are not deceiving me.

Black metal and industrial are a good match, as some had begun to show by this time, and Snorre's crazed riffing was a perfect ingredient for an industrial overhaul. After two more black metal sounding tracks, a pair of far more industrialized songs follow in Shifting Channels and Stellar Master Elite. The former is slower paced, and contains constant electronic additions including the sound of banging pipes and robotic movements. The latter is more furious and unleashes the full power of Hellhammer at points. Both are excellent, but Shifting Channels is the braver of the two, and the first track to really give equal breath to each style. The next pair is the two parts of Underneath the Universe. Part 1 is a 7+ minute ambient industrial track with a few riff marches sprinkled in. The atmosphere created, despite the emptiness of the track, is an excellent bridge to the finest track on the album in Part 2. Every time the slowly bending and climbing riff rises from the desolation of Part 1 alongside Hellhammer’s double bass foundation, I get goose bumps. Aldrahn and Satyr are both present vocally, but Snorre’s songwriting is the prize once again. The inclusion of some absolutely chilling keyboards is an added bonus, bringing together a simply stunning track. After Interface to God, another faster paced industrialized Satyr track (a la Stellar Master Elite), the album closes with Vortex. A decadently nightmarish track featuring Snorre contributing an evil and robotic almost spoken vocal, along with another storm of unorthodox riffing and strange sampling effects, Vortex is an excellent piece to end on.

Snorre Ruch deserves all the reverence he receives in the die-hard black metal community if you ask me. Regardless of his poor personal decisions in life, the man has a truly unique guitar style and sound, a refreshing change from the tremolo riffing norm. The sad fact, after an album as excellent as this, is that here we are 8 years later and there still has not been a proper follow up, despite Snorre’s claims that one is coming soon. If he can produce a result in this same league, it will be an album worth the wait.