Like the title of the album itself, Svetovid’s music feels elemental. The shifts are on a larger scale than the typical transition of a song, the motifs are grand, and the overall atmosphere feels deep and oceanic. A lot of their moves can be drawn in comparison to the Blazebirth Hall who made music that is of a similar quality. Something about that quality seems to get at the essence of black metal: trying to view life from the vistas and reveal the overwhelming macrocosm which we inhabit rather than the superficial. 
In that vein, Svetovid portrays the whole rather than the piece. The painting chosen as the cover art sums this up very well, Bruegel’s ‘Suicide of Saul’. Here is depicted an army but rather than seeing individual soldiers you look down upon an entire warscape as an undulating mass of bodies with spear and sword creating a texture rather than a scene of action. That is the vantage point and the feeling is one of awe over physical aggression. The riffs of each song on ‘Nature’s Fury’  sweep like the wind and shift like the surface of the sea, and for that reason it may take a moment to understand the form of their compositions. However, once acclimated, you recognize the movement and the power of those shifts which become inspiring and filled with anticipation. The album starts slow and builds to a climax and again finishes on a calmer note. It’s not the easiest to follow narrative, but like nature itself, it requires patience.
Svetovid originates from the unlikely location of San Francisco, California, similar to its counterpart Lascowiec. Both bands have been very active and productive over the last 10+ years. Like the Blazebirth Hall, the amount of material can be overwhelming and an undertaking in itself to sort through. ‘Nature’s Fury’ is one of the high water marks for the ensemble and a fine starting point for approaching both bands.