Influenced by Darkthrone “Transilvanian” and “A Blaze…”, in that time the Darkthrone's drummer Fenriz were part of the band on the bass and Dodheimsgard recorded one of the most surprising black metal release for the year 1995. “Kronet Til Konge” (Vote 9.5) is a cold example of perfect Norwegian black metal, a blade sharpen to kill in the icy land of the northland, in a night of horror.
The evil feeling is the same of the Darkthrone early masterpieces, a cruel taste of the northern wind, a hidden and mysterious danger. A raw, cold and evil production like at it has to be to express those feelings. Dodheimsgard's learned perfectly the lesson of their fathers, keeping the black flame of the true black metal alive, to burn the spirit of the weak. A misanthropic hate emerges from an ocean of snow, lifeless, heartless. The sound of the next Dod's release, “Monumental Possession” (1996 Vote 7), was very different, the ‘80 retro thrash (Slayer, Destruction, Sodom) meets a blacker inspiration, but the result is far away from the excellence of “Kronet…”. There isn't the same obscure and glacial feelings, it remains an evil album without the same kind of involvement and quality, it's much more infernal an hellish and sometimes a bit chaotic. Fenriz is not more part of the band and this is surely another sign of decadence. Fortunately this bad moment went away with the coming, in 1998, of the devastating mini-cd “Satanic Art” (Vote 8.5), a black massacre of dark madness. A calm piano introduction opens to a total black holocaust of total hate, three songs of infernal misanthropy, where the black metal meets thrash-black metal and some electronic experiments on the background and on the vocals. The drums are a dissecting machine and the vocals a totally disturbing performance, they're mad sons of darkness.

In '99, with a black metal scene involved by some important changes, Dodheimsgard came-out with the controversial album “666 International” (Vote 8.5). Some people said that it was a too nervous and incommunicable music, others, looking with interesting in the developing post-black metal scene, saw in that release an important addiction. I have to agree with the fact that sometimes the songs have some daring arrangements but at the same times some songs are really ingenious, a mix of black, industrial metal and other extreme metal styles with an electronic madness, a voice with very much effects. In some moments I have the sensation to listen to a futuristic version of the traditional black metal, but all the new elements have submerged his original spirit.
The desire of rebellion to the conservative side of the traditional metal border it's clear, but the more important thing is the quality of that album, that surely I don't suggest to the traditional metal listener, because in that album the extremism is watched from another perspective, much more intellectual and disturbing…so it's your choice… surely the darkness is still present in the future.