The Norwegian duo Solefald plays what its members have referred to as “radical designer rock & roll” and, more abstractly, “red music with black edges.” A far more precise, specialized term for his or her music may be post-black metallic, as they used their preliminary foundation for the reason that genre like a jumping-off stage toward developing their very own, harder-to-categorize sound. With this sense, they’re somewhat much like fellow Norwegian works such as for example Arcturus, Dodheimsgard, and Fleurety, who’ve followed roughly identical pathways over their professions. For their component, Solefald offers peppered their metal-based music with reggae and digital/dance rhythms, punk rock-style guitars, much usage of keyboards (beyond what’s typical for dark metallic), and also periodic rap-like vocals (especially on 1999’s Neonism). Their lyrics also exceed the genre’s norms, coming in contact with on themes concerning consumerism, style, and modern metropolitan life generally — instead of Satanism, Norwegian folklore, forests, and wolves, etc. — frequently expressing a sarcastic love of life along the way. The duo includes guitarist/bassist/vocalist Cornelius Jakhelln and drummer/keyboardist/vocalist Lazarre Nedland (also an associate of Borknagar since 1999). They shaped in 1995, liberating the demonstration Jernlov before putting your signature on towards the Italian Avantgarde label, with whom they released their 1st two albums, The Linear Scaffold (1997) as well as the even more experimental Neonism (1999). Their third full-length, Supplements Contrary to the Ageless Ills, was an idea album in regards to a couple of long-lost brothers — one a pornographer, another a monk — that arrived on Century Press in nov 2001. That same yr, Jakhelln released a publication of metaphysical poetry through H. Aschehoug & Business, Norway’s largest publication publishing home, entitled Gebura Muse.