Here she is, Marliese Beeuwsaert, back on the scene more inspired than ever. Ever since she founded Hulder, everything we have heard about her has been overwhelmingly positive. Talented, highly skilled, and brimming with creativity, the Belgian musician, now permanently based in the United States, has established herself as one of the leading female figures in the extreme metal scene, standing alongside other women who have unleashed their artistic vision both as members of bands and as solo artists.
These days, however, she is no longer entirely on her own, as her husband Samuel Osborne has become her full-time musical partner. Still, looking back at Godslastering (2018) and Verses in Oath (2024), what we hear is essentially all Marliese’s own work. And far from being anything to dismiss: her take on black metal is rooted in the tradition, drawing heavily from the Norwegian school, while incorporating substantial folk and medieval elements that give the music an even greater sense of depth. With Verbolgen, the sound shifts slightly towards a more violent approach, without ever losing sight of its core identity. This is where Samuel Osborne’s influence — the former Undergang and Incantation member — becomes noticeable, but always within Marliese’s overall vision.
Drie Raven (Intro) is a short, atmospheric introduction that sets the stage with dark, medieval-flavored sounds before The Crowning immediately launches into aggressive, majestic black metal, enriched by flute and percussion that further emphasize its pagan spirit. Thy Binding Oath slows things down slightly, focusing instead on sheer heaviness and building a bleak, inexorable march. From there, the title track bursts in with a more direct and ferocious approach, featuring razor-sharp riffs and consistently solid rhythmic work. …And We Shall Sing is one of the album’s highlights, thanks to its excellent balance of melody, aggression, and epic atmosphere. In Blood and in Earth, meanwhile, reveals the more atmospheric side of the band: seven minutes in which acoustic guitars, flute, and keyboards intertwine with remarkable effectiveness. Den Nacht Zijn Lied returns to faster and more aggressive territory, also introducing a few guitar passages that edge closer to melodic death metal. View From Nemeton is probably the album’s most diverse track, alternating between tremolo-picked passages, more measured sections, and solos that further expand the record’s sonic palette. Closing the album is The Glow of Dawn, a melancholic instrumental that slowly dissolves the atmosphere built throughout the record.
No, Hulder has not missed the mark. Not this time, either. The two musicians have joined forces seamlessly, and the results speak for themselves. Verbolgen does not attempt to reinvent black metal, but rather enhances it by adding a touch of atmosphere and ritualism that gives the genre a significant upgrade. Then again, this should hardly come as a surprise: Marliese and Samuel know how to do a great many things well. They know how to perform — and perform very well. They know how to express themselves. But above all, they know how to compose. And with this album, there should be no doubts about that anymore.
