Monday, September 16, 2019

Grand Demise Of Civilization/Below The Feet Of Kings/2019 Full Length Review


  Grand  Demise  Of  Civilization  are  a  band  from  Minnesota  that  plays  a  very  aggressive  and  melodic  form  of  black  metal  and  this  is  a  review  of  their  self  released  2019  album  "Below  The  Feet  Of  Kings"

  A  very  fast,  dissonant  and  raw  sound  starts  off t he  album  along  with  a  great  amount  of  tremolo  picking  and  blast  beats.  Vocals  are  mostly  high  pitched  black  metal  screams  along  with  some  deep  guttural growls  also  being  used  at  times  and  most  of  te  tracks  are  very  long  and  epic  in  length.

  Throughout  the  recording  you  can  also  hear  a  great  mixture  of  slow,  mid  paced  and  fast  parts.  When  guitar  solos  and  leads  are  utilized  they  are  done  in  a  very  technical  and  melodic  style  as  well  as  some  clean  playing  being  added  into  some  parts  of  the  music  and  as  the  album  progresses  some  atmospheric  and  depressive  elements  can  also  be  heard  as  well  as  some  parts  of  the  recording  also  having  their  progressive  moments,  one  track  also  introduces  spoken  word  parts  onto  the  recording..

  Grand  Demise  Of  Civilization  plays  a  style  of  black  metal  that  is  very  aggressive,  melodic  and  technical  sounding.  The  production  sounds  very  professional  for  being  a self  released  recording  while  the  lyrics  cover  death,  destruction  of  humanity  and  anti  Christian  themes.

  In  my  opinion  Grand  Demise  Of  Civilization  are  a  very  great  sounding  aggressive,  melodic  and  technical  black  metal  band  and  if  you  are  a  fan  of  this  musical  genre,  you  should  check  out t his  recording.  RECOMMENDED  TRACKS  INCLUDE  "Path"  and  "Decipher  the  Lie".  8  out  of  10.

https://www.facebook.com/Grand-Demise-of-Civilization-1378130155746478/
https://granddemiseofcivilization.bandcamp.com/
https://www.youtube.com/channel/UCSRaTS1jz2PWpVc17w8OyYA  

Sunday, September 15, 2019

LvxCaelis/Maher Shalal Hash Baz/Lamech Records/2019 CD Review


  LvxCaelis  are  a  band  from  Chile  that  plays  a  spiritual  form  of  black  metal  and  this  is  a  review  of  their  2019  album  "Maher  Shalal  Hash  Baz"  which  will  be  released  on  Halloween  by  Lamech  Records.

  Ritualistic  soundscapes  start  off  the  album  before  going  into  a  heavier  musical  direction  while  the  vocals  are  mostly  grim  sounding  black  metal  screams.  A  decent  amount  of  dark  sounding  melodies  can  also  be  heard  in  the  guitar  riffing  while  all  of  the  musical  instruments  also  have  a  very  powerful  sound  to  them.

 When  the  music  speeds  up  a  decent  amount  of  tremolo  picking  and  blast  beats  can  be  heard  which  also  gives  the  songs  more  of  a  raw  feeling.  Throughout  the  recording  you  can  also  hear  a  decent  mixture  of  slow,  mid  paced  and  fast  parts  along  with  the  music  being  influenced  by  both  the  modern  and  old  school  era  of  black  metal.

  Some  of  the  riffing  also  shows  an  influence  of  90's  era  death  and  doom  metal  along  with  some  guitar  solos  and  leads  also  being  added  into  certain  sections  of  the  recording  and  they  are  also  done  in  a  very  dark  and  melodic  style,  one  track  also  adds  in  a  brief  use  of  semi  clear  vocals  and  the  last  track  also  adds  in  clean  playing  and  spoken  word  parts.  The  production  sounds  very  professional  while  the  lyrics  cover  The  Black  Lodge,  Luciferian  Gnosis  and  Left  Hand  Path  themes.

  In  my  opinion  LvxCaelis  are  a  very  great  sounding  spiritual  black  metal  band  and  if  you  are  a  fan  of  this  musical  genre,  you  should  check  out  this  album.  RECOMMENDED  TRACKS  INCLUDE  "Beyond  the  Fading  Stars"  "The  Beginning  Was  The  End"  and  "Awakening  The  Final  Chaos".  8/5  out  of  10.

www.facebook.com/LvxCaelis407
www.lamech-records.org/artists/artist-profiles/lvxc%C3%A6lis-22529668





    

Ashlands Interview

1.For those that have never heard of you before, can you tell us a little bit about the musical project?

We’re a newly formed Atmospheric Black Metal duo, hailing from the green wastes of Umbria (Central Italy). Ashlands are: me (as in the one that’s typing these words, nom de guerre: Wanderer) who composes and produces all of the music, as well as the visual and conceptual aspects behind it; Vanguard, who’s responsible for the main vocal assault, and also partakes in shaping the songs, both lyrically and structure-wise.
I have been steadily ruminating this project’s material for years now, but only in 2018, after joining forces with Vanguard, I felt that Ashlands was mature enough to come out of the shadows, in the form of a three-track EP that will confront the light of day on September 30th as “Ashlands I”: “An Entrance Beneath the Dunes” (10:23); “Pyre” (7:57); “Amber” (6:27).
A lot of effort and passion went – and is going – into this project, and we hope that some of that energy ends up resonating with the listeners!

2.You have an ep coming out during the end of September, can you tell us a little bit more about the musical style you went for on the recording?

In its earliest incarnations, Ashlands’ musical focus was the no compromises, cinematic brand of Epic Black Metal forerunners like Summoning are known to deal in. In time, while remaining to some degree faithful to this formula (mainly in certain orchestral passages and in the fantasy-oriented lyrics), a broader set of musical influences and stimuli, along with a drive to experiment with the genre boundaries, pushed our music to strange new landscapes, until it ultimately found its form: a balance between an unyielding Black Metal heart, and a folk-tinged, ever present surge towards atmosphere, melody and introspection.

3.What are some of the lyrical topics and subjects you have explored so far with your music?

The thing that always fascinated me about epic fantasy, is the constant duality of its every meaning: there’s the distance, the remoteness of the “superficial”, outermost narrative – with its magnificent vistas, its marvels, the boundless freedom of the imagination; and then there’s the “ocean beneath the waves”, and that ocean is Us, as Mankind – a direct and powerful representation of our sincerest emotional core: love, grief, nostalgia, pain, happiness, hope, despair.
And this is basically what we strive for, in our lyrics: through the medium of high fantasy and the epic narrative topos of the journey, we try our hardest to illuminate, for a brief moment, the intimate corners of our communal human nature.

4.The new ep is also going to be a part of a 3 part ep trilogy, can you tell us a little bit more about this concept?

The trilogy will follow the earthly odyssey of a group of nameless pilgrims, who’s fleeing from their homeland devastated by war: first through the ominous Ashlands – once the home of a myth-shrouded ancestral civilization; now, after centuries of tremendous volcanic eruptions, a suffocating landscape of ash and gaping underground ruins –, then through the many perils and wonders of an increasingly hostile yet spellbinding world.
An equally physical and spiritual journey towards their doom (the duality we spoke of earlier), as the shadow of Death closes in upon them – and then beyond.

5.What is the meaning and inspiration behind the name 'Ashlands'?

The distant inspiration behind it is a volcanic region, precisely the Ashlands, surrounding the Red Mountain in Morrowind, third entry in Bethesda’s Elder Scrolls game series – even though our concept doesn’t rely in the slightest upon the lore of the Elder Scrolls in the way, just so we’re clear, Summoning or Caladan Brood do respectively with The Lord of the Rings and the Malazan book series.
Way back when I played Morrowind a lot, I was always struck by the sheer evocativeness and the desolate, almost alien beauty of that area of the game. So much, in fact, that an echo of its name, Ashlands, came naturally to mind upon naming the fiery, barren starting point of our trilogy’s journey, during the embryonic stages of “An Entrance Beneath the Dunes.”

6.Can you tell us a little bit more about the artwork that is presented on the ep cover?

It depicts the Ashlands: scorching hot, vast, constantly shrouded in an ashy mist; and I think it does a good job of capturing their hellish, indefinite allure – or even better yet, the impression it makes on the conscience of our pilgrims, as the region and the great volcano seemingly hold a towering spot in their collective image and mythology.

7.Currently there are only 2 members in the band, are you open to expanding the line up or do you prefer to remain a duo?

Ashlands will remain, at least for the foreseeable future, a duo, but we don’t necessarily rule out the possibility of a line up expansion. We’re also considering the possibility of drawing up a live-oriented formation of Ashlands, although at the moment this is not much more than a beguiling idea.

8.Currently you are unsigned, are you looking for a label or have received any interest?

Not presently: what matters the most to us as of now is to get our music out there, and we feel it would be premature to start contacting labels without anything to show for ourselves, or even knowing in the slightest if what we play has an actual impact on the public of a such a crowded musical scene, on which scale, if any. That’s why we decided to go the self-produced, digital route for the time being – even though we’d love to collaborate with a label in the future, or to see a physical release of our music.

9.Where do you see the band heading into musically during the future?

Since we almost finished recording “Ashlands II”, and “Ashlands III” is in the final stages of its composition, we can actually give you a pretty clear indication of where the trilogy is going, musically: while the overall style won’t change radically, “II” will certainly be somewhat heavier; “III” on the other hand  – following a drastic twist in the Ashlands storyline – will be more meditative and introspective, and the music will at times approach Ambient territories.

10.What are some of the bands or musical styles that have had an influence on your music and also what are you listening to nowadays?

Again, our music’s first beacons were Summoning and Caladan Brood, then Black Metal at large: the atmospheres of Agalloch, Ulver, Dimmu Borgir and Falls of Rauros; early-to-mid Alcest (especially 2012’s “Les Voyages De L'Âme”), the emotional weight of Der Weg Einer Freiheit, the claustrophobic guitar sound of The Ruins of Beverast; influences from Moonsorrow, Bathory, Falkenbach and Elvenking are also definitely present in some of the more folk-oriented passages and melodies.
What we’re listening to nowadays: as for me, very little Black, with the exception of The Clearing Path’s excellent “Watershed Between Firmament and the Realm of Hyperborea”. A lot of Wagner, mostly; Devourment’s new mind-shattering beast, “Obscene Majesty”, and Fat White Family’s “Serfs Up!” also get regular and frequent spins. Vanguard is really digging the new Mgła’s “Age of Excuse”; also Doom:VS’ “Earthless” and Messa’s “Feast for Weather”.

11.Does Paganism or Occultism play any role in your music?

They both do, in the sense that they hold a rather extensive importance when it comes to the world of Ashlands and the way that we present it lyrics-wise – which is to say from the point of view of the pilgrims themselves. Their outlook on life is clearly pagan, and they also have to confront a world in which supernatural forces play a very prominent, often active role.

12.Before we wrap up this interview, do you have any final words or thoughts?

Nothing other than thank you for the space you gave us, both in this interview and in your review of “Ashlands I”, and that for anyone interested – while we remind you that the full EP is coming out on September 30th (Bandcamp, name your price) – you can already listen to the second track, “Pyre”, which is premiered right now on our BC page (https://ashlandsmusic.bandcamp.com/track/pyre-track-premiere) and on YT (https://youtu.be/rXk6g_EQNLA). Hail!



https://www.facebook.com/ashlandsmusic

Endless Voyage X/Opaque/Acephale Winter Productions/2019 Full Length Review


  Endless  Voyage  X  are  a  duo  from  Cleveland, Ohio  that  has  been  featured  before  in t his  zine  and  plays  an  atmospheric  mixture  of  black  and  doom  metal  and  this  is  a  review  of  their  2019  album  "Opaque"  which  was  released  on  cassette  by  Acephale  Winter  Productions.

  A  very  dark  and  heavy  sound  starts  off  the  album  while  the  vocals  are  mostly  grim  yet  high  pitched  black  metal  screams.  When  guitar  solos  and  leads  are  utilized  they  are  done  in  a  very  melodic  style   as  well  as  some  acoustic  guitars  also  being  added  into  certain  sections  of  the  recording.

  When  keyboards  are  utilized  they  also  give  the  songs  more  of  an  atmospheric  feeling  while  the  faster  sections  of  the  tracks  also use  a  great  amount  of  tremolo  picking  and  blast  beats  which  also  gives  the  music  more  of  a  raw  feeling,  A  couple  of  tracks  also  introduces  spoken  word  parts  onto  the  recording  as  well  as  the  closing  song  being  an  instrumental.

  On  this  recording  Endless  Voyage  X  remains  true  to  the  atmospheric  mixture  of  black  and  doom  metal  that  was  established  on  their  previous  release.  The  production  sounds  very  professional  while  the  lyrics  cover  existentialism,  society  and  nihilism  themes.

  In  my  opinion  this  is  another  great  sounding  recording  from  Endless  Voyage  X  and  if  you  are  a  fan  of  atmospheric  black  and  doom  metal  and  if  you  are  a  fan  of  this  musical  genre,  you  should  check  out  this  recording.  RECOMMENDED  TRACKS  INCLUDE  "Darkness  Eternal'  and  "Sleep  Of  Stranger  Aeons"  and  "With  Time  Comes  Ruin".  8  out  of  10.


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Saturday, September 14, 2019

Negator/Vnitas Pvritas Existentia/Massacre Records/2019 CD Review


  Negator  are  a  band  from  Germany  that h as  had  music  reviewed  before  in  this  zine  and  on  this  recording  plays  an  occult  form  of  black  metal  and  this  is  a  review  of  their  2019  album  "Vnitas  Pvritas  Existentia"  which  will  be  released  in  October  by  Massacre  Records.

  Rain  and  thunder  sounds  start  off  the  album  along  with  some  epic  sounding  synths  and  ritualistic  spoken  word  parts  a  few  seconds  later  before  going  into  a  heavier  musical  direction  which  also  introduces  melodic  riffing  and  grim  black  metal  screams  onto  the  recording  and  the  faster  sections  of  the  songs  also  add  in  a  decent  amount  of  melody.

  Growls  and  death  metal  influences  can  also  be  heard  in  some  parts  of  the  music  while  the  fast  tremolo  picking  riffs  also  give  the  songs  more  of  a  raw  feeling  when  they  are  utilized.  Throughout  the  recording  you  can  also  hear  a  decent  mixture  of  slow,  mid  paced  and  fast  parts  along  with  some  synths  also  being  added  into  certain  sections  of  the  recording.

  When  guitar  solos  and  leads  are  utilized  they  are  also  done  in  a  very  melodic  style  along  with  the  music  being  a  lot  more  different  than  the  traditional  style  of  black  emtal  they  played  on  earlier  releases  and  the  music  goes  into  more  of  a  modern  black/death  metal  style  and  as  the  album  progresses  a  brief  use  of  clean  playing  can  be  heard  and  a  couple  of  tracks  are  very  long  and  epic  in  length.  The  production  sounds  very  professional  while  the  lyrics  cover  Occultism and  Left  hand  Path  themes.

  In  my  opinion  this  is  another  great  sounding  recording  from  Negator  and  if  you  are  a  fan  of  black  and  extreme  metal,  you  should  check  out  this  album.  RECOMMENDED  TRACKS  INCLUDE  "Temple  Of  Light"  "Pyroleophis"  'Regnvm  Spiritvs  Immvndi"  and  "Der  Ruf  Der  See".  8  out  of  10.

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Ossomancer Interview

1.For those that have never heard of you before, can you tell us a little bit about the band?


OSSOMANCER is merely the messenger for the next stage of universalist esotericism and/or paganism. Up to this point, Western esotericism was a primarily literary movement in the efforts to syncretize all knowledge; most contributions were read or written. However, a primary purpose of OSSOMANCER is to make legitimate contributions to esoteric philosophy through metal music. I believe this process to be an evolution for mysticism, but simultaneously a restoration-- metal is a contemporary esoteric phenomenon, but disseminating information, philosophy, and tradition through verbalization and music is quite ancient. Admittedly, I do not think OSSOMANCER the first in this endeavor, but I believe OSSOMANCER has much to offer. Really, the scope of gnostic accomplishments that I hope to achieve with this band stretches far beyond the span of my lifetime.


2.You have your first full length coming out during the middle of September, can you tell us a little bit more about the musical style you went for on the recording?


In the same manner that OSSOMANCER amalgamates philosophical ideas, OSSOMANCER draws from a wide array of musical styles, as well (both within the realm of metal and outside of it). The composition process for this aural grimoire began primarily with guitar (occasionally bass guitar) with the generalized conceptual idea for each song in mind during the writing process. I specifically chose a guitar scale that did not denote specific traditional or cultural associations (i.e. the songs about ancient Egypt do not use a Middle-Eastern-style scale). Rather, the guitar scale was calculatedly chosen in order to aid the listener toward realizing the more comprehensive aspects of the album. FUTHARK upheld this principle with his drum arrangements, as well.


3.Your lyrics deal with a lot of Western Occult and Esoteric themes, can you tell us a little bit more about your interest in this subject and practices?


In actuality, I do not think the word “interest” as the best means to describe OSSOMANCER's connection to occultism/esotericism. I think “interest” would imply that we are merely hobbyists using these themes as some sort of lyrical gimmick. Rather, occultism/esotericism/paganism for OSSOMANCER is inherent; the elements that constitute esotericism are at the core of our ontological understanding of existence (and non-existence).


In turn, OSSOMANCER is a platform for us to focus on what is most important to our worldview: mythology, magick, and mysticism. I believe these to be the three most important tools to the magician: mythology is the lexicon of symbols, language, and scenarios which leads to wisdom. Magick is the deliberate application of the will. Mysticism is the noetic connection to the divine (perhaps for the attainment of universal knowledge).


Upon delving into the lyric(k)al content of the album, one will notice that these three principles are at the album's foundation. An academicpurpose of this work is to explore the universality of god/goddess archetypes/aspects and the dynamic humanism and syncretism within in the art of divination. I believe all human traditions and/or mythological symbols to be embedded in the same universal mystic principles, so a goal for this album is to explore those correspondences. Considering that this is the band's first album, it is sensible that this album is based on the first principle of esotericism— the initiation with the divine through will or becoming “the magician.” Thus, the album is a guide, or grimoire, to allow listeners and/or readers to relate to one or more systems of symbolism (mythology), divination (magick), and transcendent wisdom (mysticism) in order to become initiates of esotericism.



4.What is the meaning and inspiration behind the name 'Ossomancer'?


Ossomancy is the practice of divination with bones. Therefore, an “Ossomancer” is a bone magician or one who chooses bones as a divinatory medium. In my research, I have found bone divination to be a recurring and most ancient practice, and one that I find relatable and practical in my own work. I chose it as the name for the band because of its ancient and universal quality, which once again, finely represents the band's ever-eternal quest to find correspondences between arcane ideological systems.


5.Can you tell us a little bit more about the artwork that is presented on the album cover?


First and foremost, I would like to thank Curry Ross for the amazing piece of fine art which perfectly encapsulates the essence of OSSOMANCER and Artes Magickae. Though I have a ready explanation for all of the embedded mystical symbolism integrated into the piece, I feel that I should refrain from doing so. Rather, in this case, I would like the listener to listen to the album, follow along with the lyric(k)s, and then do the research necessary to realize the purpose behind the artwork's symbolism.


6.Currently there are only 2 members in the band, are you open to expanding the line up or do you prefer to remain a duo?


For the creation process, I prefer to limit involvement to just the two of us (with the exception of guests). I may or may not attempt to assemble a live lineup in the near future. There is a very particular loneliness in the pagan mind...


7.On the album you also brought in Prosciptor McGovern of Absu, can you tell us a little bit more about his contribution to the recording?


The musickal and lyrickal theurgy of ABSU and Proscriptor’s other works is a fundamental influence for OSSOMANCER’s esoteric ideological principles, musickal compositions, and lucubrations. It was necessary to that he appear as a guest on the album, as his lyrickal and musickal works have long edified my comprehension of the occult. Whereas a number of bands/artists write about the occult, Proscriptor in contrast contributes to it; by ciphering his lyrickal works, one will find theorems and deductions which actually move esotericism forward, much akin to what would be read in an A∴A∴ publication from the early 20th century.


Because Proscriptor acts as mentor to OSSOMANCER, he was chosen to channel Hermes Trismegistus on the track “Chiromancy.” The track's lyrickal content is an exchange between Tat and Hermes, wherein Hermes educates Tat on the properties and purpose of astrological divination. Once again, because Proscriptor is a teacher to OSSOMANCER, it makes sense that he actually carry out the role in “Chiromancy.”


On “Pyromancy,” the lyrickal content revolves around Ancient Egyptian mythology and cosmology. Proscriptor's lyrickal passage in “Pyromancy” discusses the Nu, Apep, and the other serpentine beasts that arise from the Nu in order to combat Re who keeps the darkness at bay. I understand this aspect of Egyptian mythology to be an equivalent to the Absu, Tiamat, the dragons within the Absu, and the struggle between existence and chaotic non-being in the mythologies of the Fertile Crescent. The intention was that Proscriptor's delivery of these verses would highlight that correlation.


8.On a worldwide level how has the reaction been to your music by fans of black metal?

To be honest, I'm not so sure. The album has not been released just yet, but the preview tracks have generally received positive feedback.


9.What is going on with the other musical projects these days that the band members are a part of?


There is a lot in the works, currently. The advent of Ossomancer has led many to assume that my other band Sacerdos is dead, but in actuality, I have a full-length album prepared for the recording process. Both Futhark and myself play in Lavender Town, a false-nostalgia-driven Doom band led by William White, which is in the writing process for a full-length album. I just recently started practicing to play as a session guitarist for Stygian Obsession which will have some live appearances in the near future.


10.Where do you see the band heading into musically during the future?


The next OSSOMANCER album is already three songs into the writing process. I'd rather not reveal too much, but I can say that I am making a conscious effort in the songs' compositions to try new things and push the envelope of what I can play and how we're conceived.


Because the first album is centered around The Magus, the next will symbolically represent the High Priestess... Artes Magickae hones in on the will and initiating with the divine. The next, in contrast, will be more about the results of those proceedings...


11.What are some of the bands or musical styles that have had an influence on your music and also what are you listening to nowadays?


The complete comprehensive list for this would be incredibly long, but here is what I can offer for the purposes of this interview...


Some of my favorite bands include, but are not limited to: Absu, Immortal, Bathory, Nile, Abbath, Rimfrost, Craft, Melechesh, GWAR, Rammstein, Dimmu Borgir, Sodom, Byfrost, Witchery, Toxic Holocaust, Darkthrone, Belenos, Sephiroth, Enslaved, Matt Uelmen, Havukruunu, Emperor, Judas Iscariot, Leviathan, Destruction, Kreator, Behemoth, Judas Priest, Mercyful Fate, Desiderii Marginis, and really, there's just too many! We live in an age of rapid consumption of media, and I have more favorite bands than I have time to listen to! Not to mention, much of the influence on OSSOMANCER comes from other sources, too, such as books, movies, and video games.


Because many of the bands above have come out with an album over the last year, I have been spinning a lot of new releases (it's a great year for metal this year!):


Abbath – Outstrider

At Dusk – Condemned

Darkthrone – Old Star

Malfet – The Snaking Path

Murk Rider – Exile of Shadows

Rammstein – Rammstein

Starless Domain – EOS

Destruction – Born to Perish

Possessed – Revelations of Oblivion

Slipknot – We Are Not Your Kind

Rotting Christ – The Heretics

Crescent – The Order of Amenti

Immortal – Northern Chaos Gods


I am very much looking forward to new releases from Nile, Rimfrost, Toxic Holocaust, Mayhem, and if we get lucky, Absu!


12. Before we wrap up this interview, do you have any final words or thoughts?


Thank you very much for the interview! This is an important one, as it's the first-ever interview for OSSOMANCER!


Ah Netjeru setau em ua-a en neb heh!

https://www.facebook.com/ossomancer/

Nocturnal/The Greater Emptiness/Seance Records/2019 CD Review


  Nocturnal  are  a  duo  from  Australia  that  plays  a  very  atmospheric  and  depressive  form  of  black  metal  and  this  is  a  review  of  their  2019  album  "The  great  Emptiness"  which  will  be  released  in  October  by  Seance  Records.

  A  very  dark  and  heavy  sound  starts  off  the  album  along  with  some  atmospheric  sounding  synths  a  few  seconds  later.  Elements  of  doom  metal  can  be  heard  in  the  slower  sections  of  the  music  while  the  vocals  are  mostly  grim  yet  depressive  black  metal  screams  and  all  of  the  musical  instruments  have  a  very  powerful  sound  to  them.

  The  riffs  also  add  in  a  decent  amount  of  melody  while  spoken  word  parts  can  also  be  heard  in  certain  sections  of  the  recording.  When  the  music  speeds  up  a  decent  amount  of  tremolo  picking  and  blast  beats  can  be  heard  which  also  gives  the  songs  more  of  a  raw  feeling  and  the  riffs  also  add  in  a  decent  amount  of  melody.

  Throughout  the  recording  you  can  also  hear  a  decent  mixture  of  slow,  mid  paced  and  fast  parts  along  with  the  solos  and  leads  being  done  in  a  very  melodic  style  as  well a s  the  music  also  having  a  great  amount  of  90's  influences.  The  production  sounds  very  dark  and  heavy  while  the  lyrics  cover  philosophical,  darkness,  death  and  depressive  themes.

  In  my  opinion  Nocturnal  are  a  very  great  sounding  atmospheric  and  depressive  black  metal  duo  and  if  you  are  a  fan  of  this  musical  genre,  you  should  check  out  this  album.  RECOMMENDED  TRACKS  INCLUDE  "My  Temple"  and  "Shadows  In  Euclidean  Spaces".  8  out  of  10.

https://youtu.be/fRN23tA7hWg