As I begin writing this review, I am unsure whether the Danish heavy music scene is having a moment or if I am heavily targeted based purely on my LLNN love. Among hardcore/screamo acts such as Vægtløs (reviewed here), Regarding Ambiguity, and Omsorg, the scene has another torchbearer in Demersal. Their self-titled sophomore album is a testament to the band’s evolving sound and daring approach to the genre. Demersal don’t just adhere to hardcore conventions; they expand them, introducing elements that are as unexpected as they are smoothly integrated.
The opening track “Flakkende Som Tusinde Lys” eases the listener into a journey that soon enough erupts into a full-on sonic assault — Demersal‘s energy is here to cause some emotional damage. “Bedrager” starts in a typical screamo manner but soon evolves into something more rhythmically ambiguous (why can I hear ska?) and emotionally nuanced. This journey persists throughout the album but not in an abrupt way, which is what I’ve come to expect from hardcore bands, but rather through meticulous build ups toward the multifaceted experience ahead. “Lys I Natten” is the standout track for me as it showcases Demersal‘s willingness to innovate. When was the last time you heard trumpets on a hardcore track (maybe my ska reference is not so unintentional after all)? This bold choice pays off as it delivers one of the catchiest songs in the genre this year. Dropping this so early in the album may be an odd choice, but it instantly sets the tone for an accessible yet cohesive listening experience.
Midway through Demersal, “Something” starts flirting with metalcore breakdowns while the steadfast bass lines keep it true to its hardcore roots. The inclusion of piano and cello adds a post rock sensibility and Scandinavian melancholy reminiscent of Efterklang, providing a surprising yet fitting interlude. I feel this gives the album’s structure a good balance — it’s always nice to catch a breath after being repeatedly punched in the gut. I do wish the “gentler” instruments had been used more frequently, as their sporadic appearance left me yearning for more of what they add to the songs. Nonetheless, the subtle shifts in rhythm kept me engaged, and songs like “Androide Identiteter” with its intricate and catchy guitar reveal a post rock backbone, ensuring there’s never a dull moment.
Despite Demersal‘s overall heaviness, there’s an immersive quality to it. The closing track “Som et Barn Mod Dit Bryst”, ending once again with the glorious return of the trumpet, brings the album to a triumphant and emotionally resonant conclusion. Demersal‘s now second album is a bold and successful experiment in pushing boundaries, balancing intensity, and melodic charm. I’m not sure who’s upset one of the world’s happiest countries, but if this is what it sounds like, I’m here for it.
