By Beert
Besvärjelsen translates to “conjuring” in English. This band originally hails from Dalarna, Sweden. However, Bandcamp indicates that they now reside in Stockholm. They play self-described forest rock—think of it as Scandinavian desert rock, if labels and sub-genre categorizing is your bag. Following their acclaimed 2022 album, Atlas, Besvärjelsen bring us their latest offering, Till Glömskan - Ad Oblivionem, which will be released on August 28, 2026, on Magnetic Eye Records.
I don’t recall how I stumbled across Besvärjelsen years ago, but I own the Frost (2019) EP and the Atlas LP. So, when I saw that they had a new album coming out this year, I jumped on the pre-order train (sea blue vinyl version for me, please—unfortunately, black was not an option). There is one good factor about social media, as that’s where I happen to see new releases such as this one being announced.
Prior to the release, three singles were unleashed upon us to whet our whistles and get us excited for the album. And, of course, I ate up every one of them. You can listen to songs at their Bandcamp page (https://besvarjelsen.bandcamp.com/album/till-gl-mskan-ad-oblivionem) or on YouTube (https://youtube.com/playlist?list=OLAK5uy_n-dubUKalYFk7ejzD72eiydFpJjaNrdbQ&si=0Ad4omwXjaveTdZL).
Happily, my copy of the album arrived just over a week before the record is released. I wanted to get a review out before the actual release date. (Hell, getting anything written at any point is a step ahead in my book.)
The first thing that stands out, before even removing the polyvinyl sleeve, is the fantastic cover art, which is a watercolor by Björn Olars. The beauty and subtle pain in the piece really puts the listener in a good frame of emotion for the album that is about to be spun.
As the needle hits the groove on “The Greatest Sin,” an audio door slowly opens and guides you into this album. The song has a moderately plodding blues underlay with soulful vocals, which start the journey of pain and heartbreak that fills this album. This album exposes the listener to a lot of heartache, loss, and grieving…but in a powerful sense. There is a definite emotional heaviness of love once had and love lost. Moreso than just breakup songs, these songs are about love and realization and a sadness behind it all.
While the early singles released from the album are great, the album as a whole really provides the fully impassioned story you don’t quite get from the individual songs. It’s not a concept album, per se, but it does tell a story in its own way. There’s an anger behind the heartbreak in the songs. The lyrics give the sharpened details, but the music is a well-painted backdrop for all of it. The dark icing on the cake is the final song, “Oblivion.” When you listen to the other 10 songs, in my opinion, you’re blown away. The layering and heaviness (emotionally, as it’s not over-the-top heavy music) is brilliant. And then you’re left with “Oblivion.” It is a vocal and piano piece that pulls your heart out of your chest, hiding behind the beauty of the song.
The album is outstanding in a year full of fantastic releases, such as records by All Them Witches, Elder, Monolord, Blackwater Holylight, Heather The Jerk, Taxi Girls, Neurosis, Ealdor Bealu, Red Sun Atacama, etc. And, right now, it’s holding just above the others for Album of the Year for me. I don’t say that lightly, as I never choose an actual, single Album of the Year. But goddamn…get this album, now.
Thank you Besvärjelsen. Thank you for showing beauty in pain, love in heartbreak, and healing in devastation.
Bra-fucking-vo!
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