Gaahls Wyrd | Braiding The Stories | Season Of Mist

 

Gaahls Wyrd emerged in the wake of frontman Gaahl's departure from God Seed, bringing together his vision under a banner both tethered to black metal tradition and restlessly experimental. Formed in Norway in 2015, the band’s nucleus comprises Gaahl (vocals), Lust Kilman (guitar), Spektre (drums), and Nekroman (bass), all veterans of Norway’s diverse extreme music ecosystem. Their 2019 debut, "GastiR – Ghosts Invited," introduced their penchant for slow-burning ritualism, while the 2021 mini-album "The Humming Mountain" expanded on that with atmospheric breadth. Over time, Gaahls Wyrd have distanced themselves from genre conventions, presenting a spectral world that fuses elements of metal, ambient, gothic rock, and introspective songwriting into a deeply personal tapestry of sound and concept.

"Braiding The Stories" is the band’s most abstract and enveloping work to date. From the first flicker of "The Dream" to the twilight drift of "Flowing Starlight", Gaahls Wyrd shapes a meditative sonic landscape where form often dissolves into mood and voice becomes less a delivery system for lyrics than an instrument of presence and atmosphere.

There is a fluidity throughout the album that leans into a dream logic, as mentioned by Gaahl himself. Tracks do not explode or resolve as much as they evolve in subtle undulations, rising and falling like currents in a metaphysical tide. The instrumentation—guided by Lust Kilman—avoids overstatement. Guitars shimmer, pulse, and spiral with a distinctly ‘80s/‘90s gothic rock influence but never stay long enough in any one place to pin them down. His solos drift like memory fragments, sometimes untethered and at other times woven directly into the emotional architecture of the song.

Spektre and Nekroman offer support that feels deeply embedded in the album’s core energy, more concerned with sustaining emotional and rhythmic tension than asserting heaviness or aggression. The presence of interludes ("Voices In My Head," "Through The Veil") further blurs the lines between traditional track sequencing and cinematic movement.

Gaahl, ever the enigmatic figure, exercises remarkable vocal control throughout the album. He employs his range in service of the atmosphere rather than assertion—crooning, speaking, whispering, and chanting—allowing the lyrics to dissolve into the instrumentation or cut through it with deliberate, haunting phrasing. His approach feels less like performance and more like invocation. The lyrical content, shaped around subconscious states and dream transitions, plays perfectly into this.

The production, overseen again by Iver Sandøy, is immersive. The choices made in mix and dynamics create a breathing sonic environment where silence is just as vital as sound. The spaces between notes and rhythms carry as much emotional weight as the climaxes. Rather than aiming for immediacy or force, the mix invites prolonged listening. The album's flow is uninterrupted; its sequence is constructed not for individual song impact, but for total, uninterrupted immersion.

"Braiding The Stories" moves away from the tactile aggression of black metal and instead gestures toward an inward, spectral terrain. It is neither bound by tradition nor obsessed with disavowing it—it simply refuses categorization altogether. It is quiet yet expansive, solemn yet luminous. Rather than dramatizing emotion, it reflects it.

Score: 8.2

Trivax | The Great Satan | Osmose Productions

 

 Trivax was formed in 2009 by Iranian-born frontman Shayan in Tehran, where heavy metal was not only censored but could lead to arrest, abuse, or death. After relocating to the UK, Shayan rebuilt the band into a fearless triad of sonic violence and ideological rebellion. Their roots lie in the black metal tradition, but Trivax channels far more than just aesthetic aggression. Combining musical extremity with genuine political and cultural subversion, they bridge Western metal ferocity with the historical and spiritual anguish of their Middle Eastern homeland. “The Great Satan” is their third full-length release and the culmination of years of exile, hatred, memory, and sharpened soundcraft.

“The Great Satan” is a direct assault. It doesn’t waste time flirting with mystery or relying on abstract symbolism. Its conceptual framework is grounded in lived experience and historical trauma, aiming at theocracies and systemic brutality. The title is not ironic. The album calls the enemy by name, and in doing so, strips away any distance between art and rage.

This is not a typical metal fusion album. “The Great Satan” blends black, death, and thrash elements without drawing attention to the genre mixing. The traditional instruments—particularly the oud and baglama—are not exotic flourishes but integrated elements of pain, heritage, and revolt. The transitions between languages—English, Persian, Arabic—are not gimmicks, but weapons. Each track brings a different tempo, mood, and weight, but they are unified in tone. Fury and grief are inseparable here.

The production, handled by Samuel Turbit at Ritual Sound, allows space for each layer to emerge without overwhelming the visceral core. Vocals sit scorched and high in the mix, dripping with contempt. The rhythm section moves from trance-like repetition to total assault without warning, while the guitar work is both raw and sharply articulated, never ornamental. This is a sonic document of scorched cities, executions, and spiritual warfare.

“Operation Ramadan” is the most harrowing moment, narrating child martyrdom through faith manipulation. Its length feels intentional—dragging the listener through prolonged suffering, unresolved tension, and collapse. “Ya Saheb Az Zaman” acts as a brief ritual interlude, referencing the Twelfth Imam of Shia Islam—less a prayer, more a confrontation. The closer, “Tamam Shod,” ends the album with a phrase meaning “It is finished,” not in peace, but in exhaustion.

“The Great Satan” does not provoke for effect. It confronts the listener with stories many choose to ignore, and it does so with authentic musical craft. This is not theatre. It is an execution. It is mourning. It is survival.

Score: 9.2

A-Z | A2Z² | Metal Blade Records

 A-Z was formed in 2020 by Mark Zonder, widely known for his work with Fates Warning and Warlord, with a concept rooted in accessibility and strong musical chemistry. The name—A-Z, shorthand for Alder through Zonder—symbolizes the creative core between Zonder and vocalist Ray Alder, another prominent Fates Warning alum. With the addition of Philip Bynoe on bass (known for his time with Steve Vai, Warlord, Ring Of Fire), Jimmy Waldo on keyboards (Alcatrazz, New England), Nick Van Dyk on guitars (Redemption), and Italian guitarist/producer Simone Mularoni (DGM), the band brings together decades of experience across hard rock, progressive metal, and AOR.

Their debut self-titled release introduced a sound focused on melody, tight arrangements, and musicianship with an ear toward accessibility. The group’s second release, "A2Z²," continues that mission, refining their approach while incorporating new dimensions to their songwriting and production.

"A2Z²" presents ten tracks shaped by detailed studio work and strong collaborative dynamics. The music leans into a balance of hard rock edge and progressive arrangement, with guitar-driven sections anchored by rhythmic clarity and spacious keyboards. While grounded in a familiar structure, the album isn’t bound to convention, often opening up into layered instrumental parts that extend the songs’ scope.

Ray Alder adapts his approach throughout the album, trading his usual precision for more grit and force in several places. This gives certain songs a different tonal weight than expected, broadening the band’s vocal profile. Backing harmonies from Robbie Wyckoff and Linda Chase support that range and add depth to several tracks without overpowering them.

Nick Van Dyk provides the foundational guitar structure across the album, while Simone Mularoni takes charge of solos and textural details. His lead playing leans more atmospheric than virtuosic, often building layers with effects and subtle melodic phrasing. Bynoe expands his role beyond support, especially on “This Chaotic Symphony” and “Now I Walk Away,” where he plays fretless bass and cello. These moments don’t shift the album’s tone but do offer contrast within the flow of the tracklist.

Mark Zonder remains a consistent force behind the kit, providing a controlled but dynamic presence. His drumming remains precise without becoming showy, serving the momentum of each track rather than diverting it. Jimmy Waldo blends into the arrangements seamlessly. His keyboards create tone, atmosphere, and direction through transitions and choruses.

The album opens with energy and maintains a steady pace without significant disruption. Even the more introspective moments retain a forward movement. There’s no point where the songs abandon structure in favor of indulgence, yet they leave room for instrumental variation and subtle shifts in style. The production—handled by Mularoni—is full and balanced, giving each instrument its space without falling into compression or excess reverb.

The writing, while often rooted in melodic hooks, does not fall into repetition. The song structures remain tight, with just enough complexity to keep interest across repeated listens. Guitar tones are rich but never overly distorted, and the vocals are clear and steady throughout. Even the more forceful moments do not overextend themselves.

There’s cohesion to "A2Z²" that reflects the band’s experience. Each track flows into the next with intent, keeping the overall runtime even and well-paced. The band doesn’t aim for theatricality or grand climaxes but focuses on movement, rhythm, and texture. The result is an album that offers clarity, strength, and a wide range of sounds without forcing transitions or relying on excess.

Score: 8.0

Thor | Rock The Universe | Cleopatra Records

 

Thor, the long-running Canadian heavy metal act fronted by bodybuilder-turned-metal-vocalist Jon Mikl Thor, has carved out an enduring niche in the world of theatrical heavy metal since the late 1970s. Known for blending classic metal bombast with elements of kitsch, gladiatorial stage shows, and comic book mythology, Thor became a cult figure with albums like "Keep The Dogs Away" (1977) and "Only The Strong" (1985) and a prolific string of releases in the 2000s and beyond. Despite lineup changes and passing trends, Jon Mikl Thor has remained the unwavering core of the project—an entertainer deeply committed to the mythology of metal and showmanship. In his fifth decade of musical activity, he continues to release new work with a frequency and enthusiasm that defy his legacy status, combining nostalgia with pure passion for loud, heroic rock.

"Rock The Universe" is a cover album that reframes a variety of classic and hard rock tracks through Thor’s heavy metal lens. It’s not a reinterpretation in the transformative sense—it’s more an amplification of each track’s existing rock DNA, buffed up with metallic guitars, louder production, and Thor’s commanding vocal presence.

The song selection spans decades and styles—from The Beatles’ “Back In The U.S.S.R.” to Deep Purple’s “Highway Star/Black Night” fusion and The Yardbirds’ “Heart Full Of Soul” to The Doors’ “Love Me Two Times.” While none of the choices are particularly obscure, they do reflect Thor’s appreciation for the core foundation of hard rock and proto-metal. The tracks are performed with consistency and a kind of reverence, but they also lean into theatrics. Whether it’s the swelling vocal refrains or the gritty riffs that replace the original arrangements’ more nuanced textures, the goal here is volume and bravado.

“Action” opens the album with a brash and enthusiastic take on Sweet’s glam classic, marking the most visually promoted moment of the project with a new concept video recalling Thor’s early TV appearances. That blend of muscle-bound nostalgia and high-octane metal tone sets the tone for what follows. “Mama Let Him Play” by Doucette is one of the more unexpected inclusions, delivered with mid-paced heaviness and a nod to classic Canadian rock history.

Instrumentation across the album favors clarity and directness over complexity. Guitars are dominant, bass is supportive, and drums are serviceable, all functioning as a backdrop to Thor’s voice, which still carries weight, even if time has slightly roughened its edges. His delivery often walks the line between spoken declarations and commanding chants rather than melodic versatility, but this fits the superhero persona he’s long maintained.

The mix maintains a consistent volume and EQ profile throughout, which keeps the album cohesive but also slightly flattens the dynamic range. There’s not much variation in tempo or tone, which occasionally makes the midsection blur together despite the changing source material.

The heavier takes on “Steamroller Blues” and “I’m Not Like Everybody Else” retain enough familiarity to honor their roots but gain a sharper edge that reflects Thor’s intent to “metal-ify” without entirely replacing the originals’ identities. “I’m Ready” and “Rock The Nation” follow a similar route, with straightforward riffing and energy over subtlety.

Despite being an album built entirely on covers, "Rock The Universe" does manage to reflect Thor’s identity. It’s not just the song choices but the way they’re delivered—with deliberate muscularity, a touch of tongue-in-cheek theatrics, and a loyalty to the spirit of vintage heavy metal.

Score: 6.3

Quadvium | Tetradōm | Agonia Records

 Quadvium is an instrumental progressive metal-fusion quartet with roots in both California and the Netherlands, formed in late 2019 by two iconic figures in extreme metal: Steve Di Giorgio (Testament, Death) and Jeroen Paul Thesseling (Obscura, Pestilence). Both musicians are recognized for their distinctive multi-string fretless bass playing, and the idea behind Quadvium was to build a sound architecture where two such bassists could collaborate not as competing voices, but as an integrated dual force.

From its inception, Quadvium was conceptualized as more than a studio project. It became a calculated endeavor that required the right chemistry and vision. This vision eventually expanded to include drummer Yuma van Eekelen (Our Oceans, Pestilence), whose percussive insight and technical versatility added necessary structure and nuance. The final piece came in the form of Eve (Myth Of I, Kaathe), a composer and guitarist whose contributions shaped much of the compositional framework and sonic direction of the group.

The idea was to avoid conventional roles and hierarchies—no rhythm vs. lead bass, no competition of egos. Instead, the band invested years into realizing a layered, intricate instrumental language built on mutual understanding and shared artistic ground. With the support of Agonia Records, Quadvium entered a focused recording phase to create their debut full-length, "Tetradōm."

"Tetradōm" is a carefully constructed journey into fusion-based progressive metal, driven by collective balance and deliberate arrangement rather than individual showmanship. Across its seven instrumental tracks, the album expands and contracts organically, shifting through tempo changes, textures, and tonal narratives that rely more on composition than complexity for their forward motion.

The two-bass structure is not a gimmick, nor is it overwhelming. Steve Di Giorgio and Jeroen Paul Thesseling interact like twin architects, offering contrapuntal lines, microtonal colorations, and elastic phrasing that cover much of the harmonic spectrum. Their interplay isn’t centered on dominance but coordination. Every passage they build together works more like a shared current than a tug-of-war.

Eve’s guitar work anchors and elevates the whole framework with dense riffing, scalar leads, and atmospheric interludes that create depth and breathing space. Guitar never dominates, but it does move the music forward structurally, offering contour and binding transitions. Eve's role as producer and principal composer is especially noticeable in the way ideas are linked and developed through themes rather than abrupt flourishes.

Yuma van Eekelen’s drumming avoids excess and favors structure, not flash. His work feels meticulous and supportive, often taking a compositional role in shaping the rhythm’s geometry without disrupting the free-form dialogues happening between bass and guitar. He creates movement that complements rather than competes, giving the music an agile but grounded pulse.

The album’s mood is often contemplative, sometimes dissonant, and occasionally intense, but rarely linear. There’s a sense of discipline in how the band chooses not to fill every second with sound. Silence and space are used wisely, which makes the dense moments more impactful. Songs like "Adhyasa" and "Ghardus" unfold patiently, relying on evolving structures rather than repetitions or sudden shifts.

Production-wise, "Tetradōm" sounds transparent but tight. The mix respects the complexity of each instrument’s range, especially given the low-end emphasis of two fretless bass players. Nothing bleeds or muddies—each instrument is positioned with care and intention. The mastering by Dereck Blackburn ensures a sense of depth, particularly in the dynamic passages where textures interweave subtly.

Visually, the album is wrapped in the surreal imagery of Travis Smith, which fits the esoteric and introspective direction of the music. His cover design hints at isolation, ascension, and elemental transformation—core emotional resonances that the music itself implies without needing lyrics.

"Tetradōm" is not a collection of jams or flashy prog demonstrations. It is a restrained yet technically fluid exploration, rooted in a shared ethos between four musicians who trust each other’s instincts. What results is an album that doesn’t push toward extremes but prefers a path of equilibrium, tension, and refined form.

Score: 8.0

Lord Vigo | Walk The Shadows | High Roller Records

 

Lord Vigo is an epic doom metal band from Landstuhl, Germany, active since the mid-2010s and known for their cinematic sound, heavy atmospheres, and references to classic fantasy and science fiction. The band takes its name from the fictional tyrant Vigo the Carpathian from “Ghostbusters II”, which hints at their taste for gothic and fantastical storytelling. Since their debut, Lord Vigo have been pushing into territory between Candlemass-inspired doom, progressive concepts, and synth-laden dramatic interludes. Previous albums like “Danse De Noir” (2020) and “We Shall Overcome” (2022) formed a conceptual duology full of ambitious narrative arcs and theatrical grandeur. With “Walk The Shadows”, their sixth full-length album, they step outside conceptual bounds and focus on self-contained songs.

 “Walk The Shadows” marks a shift for Lord Vigo, abandoning the continuous storytelling of their previous works in favor of a more isolated song structure. Despite the change, the material remains firmly rooted in the band’s signature style—melancholic doom steeped in atmosphere, synths, and retrofuturist dread. There’s a noticeable injection of gothic rock and post-punk here, pulling elements from Fields Of The Nephilim, The Cure, and Sisters Of Mercy, but filtered through a metallic lens. It makes the album both familiar and strange in a way that benefits repeat listens.

The production has a cavernous, deep tone without becoming overburdened by murk or compression. The mix preserves clarity where needed—particularly in the vocal layering and the moments where the synthesizers swell to the forefront. Vinz Clortho’s vocal choices are key here, shifting to much lower registers, adding a mournful, ritualistic quality that’s less theatrical than before, but fittingly austere for the material. Guitars by Volguus Zildrohar and Tony Scoleri maintain weight and scale without overwhelming the space, and the shared duties on bass and rhythm allow the arrangements to remain balanced across the album.

The songs don’t conform to predictable structures. “El Hakim,” for example, stretches to over twelve minutes and brings the album to a slow-burning conclusion, driven more by mood than dynamics. On the other hand, tracks like “Servant Of The Dark” and “The Triumph Of The Killing Heart” pulse with a darker, minimalistic energy that leans toward gothic rock more than classic doom. It’s clear that Lord Vigo has taken creative risks, not by abandoning their core sound, but by expanding the ways in which they express it. The album’s pacing is even, with no obvious filler or unnecessary interludes.

“Walk The Shadows” stands as a thoughtful and brooding release by a band who continue to challenge their own trajectory. Rather than repeating past formulas, Lord Vigo expands their stylistic framework with restraint and conviction. It’s a dark journey worth undertaking.

Score: 8

Graceless | Icons Of Ruin | Listenable Records

           Founded in 2016, Graceless quickly carved a place for themselves within the global death metal underground, building their identity on muscular songwriting, mid-tempo density, and a signature blend of doom-laced heaviness. Drawing influence from classic names like Bolt Thrower, Asphyx, and Death, the Dutch quartet forged ahead with a sound as rooted in sorrow as it is in sonic demolition. With each release, the band has grown more self-assured and more resolute in crafting music that resonates in both emotional weight and battlefield-like force. Their fourth album, “Icons Of Ruin,” issued via Listenable Records, solidifies that trajectory, further expanding their sound without abandoning its core identity.

“Icons Of Ruin” presents Graceless in complete command of their style. The production, recorded at Soundlodge Studios, grants the album a colossal presence—dense yet articulate, brutal yet structured. Every instrument punches through the mix, particularly the drums and guitars, which move with cohesion and forward momentum. The tone is both crushing and mournful, an ideal vehicle for the themes addressed throughout the album.

Lineup:

Remco Kreft Guitar, Vocals

Marc Verhaar Drums

Jasper Aptroot Bass

Björn Brusse Lead Guitar

From the opening assault of "God Shines In Absence" to the haunting final tremors of "Resurrection Of The Graveless," the album sustains a weighty atmosphere. The songwriting remains compact and direct, even in longer tracks like "Beneath Starless Skies," which offers space for atmosphere without straying from Graceless' rhythmic foundation. Riffs remain the backbone, with Björn Brusse's lead work adding melody in ways that enhance rather than overtake the core structure. Remco Kreft’s vocals remain in that gravelly sweet spot between wrath and sorrow, carried by tight rhythmic interplay from Jasper Aptroot and Marc Verhaar.

Where earlier albums often balanced their aggression with minimalistic pacing, “Icons Of Ruin” features more layered arrangements. Still, everything feels written with the stage in mind. Tracks like "Night Of The Slain" and "Hardening Of The Heart" hit with that mid-tempo groove that turns live venues into war zones, while others such as "Ungodliness" maintain speed and conciseness without losing depth.

The album’s character is heavy, solemn, and martial. Its pacing is consistent, resisting bloat and indulgence. Even with ten tracks, the runtime flows well, each song justifying its place. There’s no need for interludes or ambient distractions—“Icons Of Ruin” is a direct statement of intent from a band who knows exactly what they want to do and how to do it.

“Icons Of Ruin” doesn’t depend on stylistic flash or studio gimmicks. It’s built on cohesion, tone, pacing, and purpose. Graceless sounds seasoned and resolute, the sound of a band whose identity is firmly in place. This album doesn’t aim for reinvention but instead refinement—a further step into the bleak grandeur they’ve been sculpting since their inception.

Score: 8.2

The Haunted | Songs Of Last Resort | Century Media Records

 

The Haunted emerged from the Swedish metal landscape in the mid-1990s, built upon the legacy of melodic death metal and the collapse of seminal bands like At The Gates. Formed by guitarist Anders Björler and bassist Jonas Björler and joined by former Seance guitarist Patrik Jensen and At The Gates drummer Adrian Erlandsson, the band quickly distinguished themselves with a sound blending thrash precision and death metal intensity. Vocalist Peter Dolving completed the original lineup after a brief search.

The band's self-titled debut gained immediate traction for its unrelenting aggression, but it was 2000’s “The Haunted Made Me Do It” that defined their early years, earning acclaim for its blend of Swedish melody and relentless riffing. Over the years, The Haunted experienced a revolving door of vocalists and drummers, with Dolving, Marco Aro, and Erlandsson all stepping in and out at various times. Albums like “rEVOLVEr” (2005), “The Dead Eye” (2006), and “Unseen” (2011) marked stylistic shifts, while “Exit Wounds” (2014) and “Strength In Numbers” (2017) saw a return to a more aggressive form, particularly with the return of Aro and Erlandsson.

By the time of “Songs Of Last Resort”, nearly eight years had passed since their last studio release, marking the longest gap in their discography. The band returned with Marco Aro on vocals, Patrik Jensen and Ola Englund on guitars, Jonas Björler on bass, and Adrian Erlandsson on drums—completing a powerful and experienced lineup.

"Songs Of Last Resort" is a concise, aggressive statement that distills The Haunted’s primary strengths into 40 minutes of relentless thrash. The production, handled by Jens Bogren, is sharp and modern, with a controlled mix that accentuates the rhythmic drive without losing the intensity.

The album begins with "Warhead," the first of several tracks that operate with mechanical precision, driven by Erlandsson’s tight drumming and the chug-heavy riffs laid down by Jensen and Englund. The dual guitar attack remains a defining feature, but there’s a noticeable shift toward more direct and stripped-down song structures. There are moments of atmospheric pause, but they never undercut the force that powers the songs forward.

Vocally, Marco Aro sounds as dominant as he did during his earlier tenure. His approach here is consistent—gruff, measured, and perfectly suited to the band’s driving momentum. There are fewer melodic detours compared to previous albums, and the focus remains tightly on thrash aggression with occasional flirtations with groove and death metal tempos.

The songwriting feels purposeful. Songs like "In Fire Reborn," "To Bleed Out," and "Hell Is Wasted On The Dead" are compact, each delivering a punch without overstaying its welcome. The brief, chaotic "Blood Clots" breaks the pace momentarily, while "Collateral Carnage" and "Labyrinth Of Lies" offer longer, more layered arrangements. Guest vocals by Björn Strid on "To Bleed Out" bring a slight variation in texture without deviating from the album's overall atmosphere.

Lyrically, the themes lean into war, self-destruction, and despair—subjects The Haunted have visited before, though this time there's a more direct and visceral tone. The album’s closer, "Feeding The Furnace," encapsulates this sentiment with a final outburst of tension and precision.

Despite the long hiatus, the band doesn't sound restrained or overly calculated. There's no attempt to redefine themselves—just 13 sharp-edged tracks grounded in their roots and performed with focus. "Songs Of Last Resort" is a lean, hardened return for The Haunted. It avoids overcomplication and delivers a concentrated dose of thrash metal from veterans who know their direction and stick to it (in your ass) with confidence.

Score: 8.8

Rivers Of Nihil | Rivers Of Nihil | Metal Blade Records

 

Rivers Of Nihil, formed in Reading, Pennsylvania, in 2008, have steadily developed a presence within the progressive and technical death metal landscape through a discography that includes albums such as "The Conscious Seed Of Light", "Monarchy", "Where Owls Know My Name", and "The Work". With each release, they have explored new musical directions, expanding their dynamic without moving too far from their foundational sound. Across their touring history and lineup adjustments, the band has retained a consistent identity grounded in compositional density, atmosphere, and instrumental discipline.

"Rivers Of Nihil," their fifth full-length, arrives during a period of change within the band. Adam Biggs, a founding member, takes over lead vocals in addition to bass duties, and Andy Thomas, known from Black Crown Initiate, joins as guitarist and secondary vocalist. These changes do not alter the foundation as much as they refine it. The songs present on this album move with greater structural clarity, shaped by focused writing and a firm sense of direction.

The album spans ten tracks and just over fifty minutes, maintaining a careful balance between direct impact and atmospheric contour. The compositions avoid excess, even when venturing into extended arrangements, synth-driven passages, or unexpected instrumentation like saxophone and banjo. There is a sense that each section serves a clear purpose, whether driven by guitars, rhythm, or layered vocals. The production work of Carson Slovak and Grant McFarland delivers a wide, spacious sound where all elements occupy room without becoming saturated.

Biggs handles the vocal range with consistency and presence, while Thomas contributes a melodic counterpoint that supports without overwhelming. Their vocal integration plays a vital role in giving the music flexibility. Uttley’s contributions on keys and programming are present but measured. The additional instrumentation—cello, saxophone, and other guest elements—is arranged to supplement rather than decorate.

Across the album, rhythmic complexity, melodic transitions, and tempo shifts are paced carefully. The interplay between aggression and control maintains a steady tension. Songs like "Criminals," "Water & Time," and "House Of Light" feature hooks and recurring motifs that enhance their memorability without compromising structure. The writing takes care not to rely on extremes or sudden changes for dramatic effect. Even as certain songs incorporate more accessible melodies or ambient textures, they remain consistent with the surrounding material.

The sequencing allows space for variation in mood without creating abrupt contrasts. The closing track, "Rivers Of Nihil," offers a restrained and conclusive tone without indulging in dramatic closure. Rather than attempting to summarize, it settles into a final movement that maintains the album's steady course.

This self-titled work neither overstates its intentions nor retreats into safety. It aligns with what the band has established previously while refining the framework to accommodate new voices. The transitions are handled with restraint, and the material feels fully formed without pushing duration or thematic weight beyond its scope. "Rivers Of Nihil" moves with precision and commitment, remaining true to the band’s evolving path without relying on reinvention as a premise.

Score: 8.4

Sargeist | Flame Within Flame | W.T.C. Productions

 

Sargeist, formed in 1999 by Shatraug, has become one of the defining forces of Finnish black metal. The band’s name, a portmanteau of Sarg (German for “coffin”) and Geist (“spirit”), was drawn from the track “The Old Coffin Spirit” by Rotting Christ, foreshadowing their alignment with raw, spiritual darkness. While initially a solo project, Sargeist solidified into a formidable lineup that would go on to release a stream of influential albums such as “Satanic Black Devotion” (2003), “Let the Devil In” (2010), and “Unbound” (2018). Known for their unrelenting traditionalism and mournful, piercing atmosphere, Sargeist has shaped and influenced a global cult following.

With the departure of long-time members Torog and Horns, the band has seen a rejuvenation through the inclusion of members like VJS (ex-Nightbringer, Demoncy), and now Spellgoth (Horna) and Nur-i-siyah (Nawaharjan, Decapitated Christ). Shatraug, the nucleus of the band, continues to steer its course with unwavering purpose.

“Flame Within Flame” continues Sargeist’s journey with neither regression nor overt escalation but rather with refinement and saturation. From the very beginning, the album thrusts itself into the darkness with conviction. The riffs crafted by Shatraug and VJS are steeped in bitter melancholia, often interwoven with a slower, more measured pace that offers a broader sense of scale and despair. This atmosphere does not feel ornamental or indulgent—it is suffocating and intentional, emerging naturally from the guitar phrasing and compositional structure.

The production allows space for these dynamics to settle without reducing the raw aggression that has always been a part of the band’s core. The percussion by Nur-i-siyah is disciplined and violent, alternating between flurries of tremolo-driven assaults and heavier, ritualistic segments that feel pulled from the abyss. Spellgoth's bass contributes a subdued but noticeable underpinning that glues the tension together. Most notable, however, is Shatraug returning to vocals—a move that reorients the band slightly toward its primordial state. His vocal performance does not aim to overpower; instead, it serves as a channel for venom, draped in decay and lament.

The tracks of “Flame Within Flame” tend toward lengthier forms, but not bloated or unwieldy. Each song has a natural evolution, but they rarely conclude with relief—instead, they drift into silence like smoldering cinders. “An Eternal Dream Beyond The Accursed Portent,” “Juravit Sanguine,” and “To The Mistress Of Blackest Magic” typify this mood of corrosive hypnosis, while “Behold Our Temples Arise” and “Rite Of Ascension” hammer down with fiery conviction.

Throughout, the album maintains cohesion. The guitar layering often implies movement rather than overt dramatics. There is a shift toward atmosphere, but without disfiguring the band’s past identity. The melodies are still twisted, and the rhythms are still forged in defiance, but now there’s a broader depth beneath the surface—cold, slow-burning, and deliberate. “Flame Within Flame” does not present itself as a moment of transformation but as a statement of continued fervor. Its power lies not in surprise but in persistence—in how that same black flame still flickers, unwavering, after more than two decades.

Score: 7.7