The title translates as “all there is.” It’s a phrase that can feel like an opening or a closing depending on where you’re standing when you say it, either wonder at the scope of things, or the grim acknowledgment that nothing more is coming. On Alt Som Finnes, Roman V. seems to mean both at once, and the album moves between those two poles for just over forty minutes without settling on either.
Bizarrekult began as a solo project, but this third record brings in a proper lineup, Ignat P. on guitars and bass, Alexander P. on drums, and the difference in weight is audible from the first seconds of “Hun.” The opener is brief, barely three minutes, more a statement of intent than a developed song: a distorted riff cycling beneath vocals that sound like a warning rather than an invitation. It announces something, then steps aside.
“Blikket Hennes” is where the album properly begins, and it’s the record’s most striking moment. Six minutes built around the image of being watched, scrutinized by some presence that already knows everything you’ve done, the song earns its length by refusing to resolve the tension it creates. The guitars hiss and press forward; the drums maintain a low-end pulse that keeps the whole thing from becoming abstract. Then Yusaf “Vicotnik” Parvez from Dødheimsgard arrives with clean vocals about midway through, and the song shifts beneath him, the surrounding noise suddenly more like a frame around something exposed.
“Avmakt”, powerlessness, surges and seethes in a way the earlier tracks only hint at, the band releasing the pressure that has been building. It’s the most straightforwardly aggressive moment here, though the melody that surfaces in its second half complicates that reading, pulling the song somewhere quieter and more unsettled before it ends.
“Drøm” stands apart from the rest of the album. Its lyrics are in Russian rather than Norwegian, and Lina from Predatory Void joins on vocals, the imagery of a cornered wolf too exhausted to run, dreaming of remembering who it used to be. It’s the record’s most urgent song, the riff barely pausing to breathe, and it sits in the middle of the tracklist like a pivot point the album swings around.
The second half darkens and contracts. “Verdens Verste” and “Aversjon” are compact and bleak, the former almost conversational in its self-recrimination, the latter building slowly from near-silence into something that doesn’t resolve so much as collapse. By the time “Tomhet” closes the record, in English, the first Bizarrekult song to make that choice, the exhaustion in the lyrics (“Am I alone like this? No, we are many”) reads not as defeat but as something closer to strange comfort. Kim Song Sternkopf from Møl appears here, and the song carries the weight of the whole album’s accumulated grief without buckling under it.
Miguel Tereso produced, mixed, and mastered the record at Demigod Recordings in Portugal, and the sound is drier and more direct than the genre usually allows, the guitars never bury the vocals, and the bass sits forward enough to give the slower passages genuine heft without adding warmth that would soften the mood. It suits the material.
Standout tracks: Blikket Hennes, Drøm, Tomhet
Alt Som Finnes is the sound of a project finding its full shape, personal enough to sting, and heavy enough to leave a mark.
