On November 1st internationally, Floga Records is proud to present Thyrathen‘s highly anticipated second album, Lakonic, on CD, vinyl LP, and cassette tape formats. In lieu of this announcement, the first track “Η Πόλις (the Philosophical Poem)” is premiered here:
Formed in 2011 but not making their public debut until ten years later, Thyrathen nevertheless are a vanguard for ancient Hellenic black METAL. That debut, the full-length ThanatOpsis, featured a godly lineup – drummer Corax S. (ex-Nocternity and Jackal’s Truth), guitarist A.Z. (ex-Kawir and Obsecration), and vocalists Stefan Necroabyssious (Varathron, Funeral Storm, Katavasia) and Alexandros (Macabre Omen, The One) – and the results were, unsurprisingly, godly. Here was that classic Greek sound, given deeper and darker drama through a framework of both fantasy and philosophy, but looking within for inspiration rather than without. Put another way, Thyrathen slotted well into the lineage its principal members helped shape, but ThanatOpsis was entirely its own creation. A Mount Olympus to eclipse, as it were…
Somehow, Thyrathen have scaled that mount once again, and indeed have eclipsed the feat with their second album. Titled Lakonic, the band’s sophomore full-length stays true to their noble foundation, but goes bigger and bigger and BIGGER. Thyrathen here create a vast and epic landscape that’s poetic and philosophical in equal measure, illuminated by the torch of That Classic Greek Sound but skillfully maximizing the METAL aspect of black metal. Once again, neither keys nor synths have been used. Instead, as on the debut, ancient lyre and choirs & voices constitute the lyrical part of Thyrathen‘s music, giving an impossibly rich texture to their heavy metal hymns that’s solemn, ceremonial, and simply stunning. The lineup sees the return of Corax S., Stefan Necroabyssious, and Alexandros, and also the arrival of Noch from Greece’s Black Winter on guitar, bass, and choirs and Thanasis Kleopas on ancient lyre and voices. Together, these men weave a tapestry of sound that engages upon first listen and then works an ever-more-entrancing spell as successive spins seduce the listener.
Both counterpart to and continuation of ThanatOpsis, Lakonic goes one step further and consolidates the unique character & music style of Thyrathen as “diachronic, lyrical black metal,” in their own words. With seven songs in 47 minutes, this second album is a coherent, poetic-epic, and theatrical journey: it creates images, it flows joyfully in its entirety, and it adds further to the brilliant canon Thyrathen are building.
Cover and tracklisting are as follows:
Tracklisting for Thyrathen’s Lakonic 1. The Throne of Micro-Cosmos (Foolishness) [5:45] 2. Religious Agonies [5:13] 3. Matter, Void, Sperm [6:29] 4. De Rerum Natura [5:51] 5. Η Πόλις (the Philosophical Poem) [7:49] 6. Void, Matter, Sperm [6:51] 7. Scales & Sword (the Fall of Justice) [7:16]
Behold, ye disciples of sepulchral darkness! With utmost pride, Sepulchral Voice Records annunciates Black Curse‘s sophomore album, Burning in Celestial Poison, to be released internationally on October 25th.
Four years have passed since Endless Wound left stigmatas on mankind, but be sure, the quartet will cut even deeper now. Burning in Celestial Poison is not only a statement and lesson in audio-violence, it is a 44-minute-long manifest of radical DEATH metal causing mental lacerations and chaos!
A record supposed to shock, because of its ecstatic ruthlessness and massive fanatical malevolence, hovering deep below the compositions. It opens the doors to a world that is so unbelievably vast that you risk losing yourself in it; its depths defy exegesis.
Four curses are woven into four hymns of utter death-magic, which will lead you into the black abyss of the grand divine.
Burning in Celestial Poison truly is an agonized infernal within, shattered and re-jointed into the darkness of the physical. Extreme intensity pointed cruelly towards the soul to extinguish the spirit.
The album was again produced by master Arthur Rizk, who cuts through all expectations with extraordinarily dense and destructive fidelity and production. Burning in Celestial Poison sounds like it was created with the magick, formulas, codes, and keys of a world beyond.
In order to understand the dark sublimity of this album, maybe other perspectives must be considered, which are not yet defined properly. In our world, it will be considered ugly and oppressive by those who are not able to succumb to its glorious depths. Intentionally breaking with modern listening habits (and avoiding all rules of song length and structure), it achieves the best result when experienced in darkness and at maximum volume.
Burning in Celestial Poison meanders and finishes with a prophetic roaring sound that surely comes from the world we have to face, which is the world in fire. MORTE MORTE MORTE.
In the meantime, hear the brand-new track “Trodden Flesh” here:
Cover and tracklisting are as follows:
Tracklisting for Black Curse’s Burning in Celestial Poison 1. Spleen Girt With Serpent [10:51] 2. Trodden Flesh [11:47] 3. Ruinous Paths… [7:09] 4. … to Babylon [4:13] 5. Flowers of Gethsemane [11:09]
On October 18th internationally, De Tenebrarum Principio – a division of ATMF – is proud to present the highly anticipated fifth album of Sweden’s Seid, Hymns to the Norse.
Hymns to the Norse – the new album from Seid, active since 2009 and purveyors of proud pagan black metal in the ancient tradition – takes great inspiration from the old folk music of the Scandinavian region. In many ways, this album is more of a concept album than 2022’s preceding Svart Sól was. The sejd drum intro “Hymn To Ivar” opens it up in an even-more-traditional fashion, but then you get brass sections and the sound develops more and more throughout the album towards something more recognizably black metal. “Hymn to the North” closes the album, referring to the fact that all the songs you just heard were hymns: previously untold but, in our common ancestry, deeply buried.
With Seid‘s raw, lo-fi sound, eerie vocals, sejd drum, Hammond organs, and haunting atmospheres, this album pushes the boundaries of black metal while exploring the Norse roots. Hymns to the Norse takes you to the past…and brings the past into you.
In the meantime, hear the brand-new track “My Kingdom Rise” here:
North American preorder info can be found HERE; European preorder info can be found HERE. Cover artwork, courtesy of Frank Dicksee (1873), and tracklisting are as follows:
Tracklisting for Seid (Sweden)’s Hymns to the Norse 1. Hymn To Ivar 2. The End Of Days 3. My Kingdom Rise 4. White Beast From Hel 5. Nordmænnens Raseri 6. Light Up The Sky 7. Allfadir 8. Hymns To The North
On September 13th internationally, Werewolf Records will release the debut demo of Japan’s Immortal Death, self-titled Immortal Death, on CD and cassette tape formats. And today, they stream the demo in its entirety. Hear Immortal Death‘s Immortal Death in its entirety here:
Emitting the sick stench of the ancients, Immortal Death play savage, Satanic DEATH METAL as if the last couple decades of “death metal” didn’t exist. A mysterious entity, it is known that at least one member hails from the esteemed Sex Messiah, but that is where the parallels end: one listen to Immortal Death‘s eponymous debut demo is enough to convince the diehard – or offend those of delicate sensibilities. Howling and harrowing and hulking in its ragged, rabid physicality, Immortal Death mangles both mind and body with its sulfurous rehearsal-room intensity, skillfully moving between primitive blasting and ominous trudge, with UNGODLY riffs being bullet-belted out right and left. And after a mere 14 minutes, you’re left with absolute devastation.
So impressed by its sheer audacity and merciless battery, Werewolf steps forward to release Immortal Death on a worldwide scale, on all formats. Maniacs of Necrovore, the pre-Deicide Amon, America’s Infester, Pissgrave, or the late / great Deathchurch, prepare for reckoning with Immortal Death.
Preorder info can be found HERE. Cover and tracklisting are as follows:
Tracklisting for Immortal Death (Japan)’s Immortal Death 1. Intro 2. Impaled by Horn 3. Stigmatized 4. Romance Of Corpse 5. Death of the Immortality 6. Outro
Today, legendary Finnish black metallers Barathrum reveal the new track “Dark Sorceress 3 (Spring Siege).” The track is the second to be revealed from the band’s highly anticipated tenth album, Überkill, set for international release on October 11th via Hammer of Hate. Hear Barathrum‘s “Dark Sorceress 3 (Spring Siege)” in its entirety here:
Barathrum should need no introduction. Formed in 1991, the band remain one of Finland’s very first black metal bands – and, more importantly, one of the longest-running. While Finland’s history of black metal often revolves around Beherit, Impaled Nazarene, and Archgoat during the ’90s and then Horna, Satanic Warmaster, and Behexen at the dawn of the millennium, during all this have Barathrum remained steadfast in their vision of bulldozing, bass-heavy black metal that indeed features TWO bass guitars. The band’s first two albums – Hailstorm and Eerie, both released in 1995 – remain absolute classics of dark & unsettling art, but thereafter did the band take on a rowdier, more concertedly METAL aspect that’s made that vision all the more unique and their legacy all the more enduring. And while they more or less went on hiatus following 2005’s Anno Aspera, Barathrum returned rougher and rowdier than ever with 2017’s gutted ‘n’ glorious Fanatiko.
Alas, seven years pass, but the Barathrum sound & vision are eternal, and they return to prove it once again with Überkill. Here, previous-bassist / now-guitarist Ruttokieli (also mainman of Sielunvihollinen and White Rune) composed all but one of the songs on this, amazingly the band’s tenth album; drummer Vendetta makes his composition debut with the telltale, scene-setting opener “Death by Steel.” As always, founding frontman Demonos Sova wrote all the lyrics, and his signature full-throated rasp leads with devilish glee these alternately stomping / surging anthems, all with equally telltale titles like “Mountain of Bones,” “Dark Sorceress 3 (Spring Siege),” “Black Magick Rites,” and perhaps best of all, “Spark Plugs of Purgatory.” And yet, for as much as Barathrum are very much (still) a pure & proud black metal band, Überkill proves that the Finns are, above all, a very great heavy metal band – just one that’s jet-black, asskicking, and bass-driven as fuck. Simple-yet-sublime pleasures, now and forever: again, Barathrum are eternal!
Hear the previously revealed title track “Überkill” HERE, also at KVLT‘s official YouTube channel. Cover and tracklisting are as follows:
Tracklisting for Barathrum’s Überkill 1. Death by Steel 2. Mountain of Bones 3. Spark Plugs of Purgatory 4. Black Magick Rites 5. Ritual Murder 6. White Red Black and Pale 7. Denial of God 8. Dark Sorceress 3 (Spring Siege) 9. Überkill
Coming this October and November, Europe will fall under the hammer of the Perdition Temple / Omegavortex “Malign Extremists Offensive” Tour. In the 15 years of Perdition Temple‘s existence, this will be their very first visit to European shores to bring their deathly maelstrom of darkness and ruin. Confirmed dates and venues as well as poster art are as follows:
October 25 – Dresden, Germany @ Chemiefabrik October 26 – Warsaw, Poland @ Odessa October 27 – Poznan, Poland @ Pod Minogą October 28 – Katowice, Poland @ Piąty Dom October 3- Prague, Czech Repbulic @ Modrá Vopice October 31 – Siebnen, Switzerland @ District 28 November 1 – Erba, Italy @ Centrale Rock Pub November 2 – Paris, France @ Winter Rising Festival November 3 – Kortrijk, Belgium @ DVG Club
US death metal storm Perdition Temple will tour Europe for the first time. Emerging after the demise of Angelcorpse, Perdition Temple is total death metal annihilation and features all the trademark Gene Palubicki riffs and solos, though shifted up a few gears in terms of brutality and riffing onslaught. With Ron Parmer (Malevolent Creation) delivering precise bombardments of blasts and Alex Blume (Ares Kingdom) on vocals and demolishing death-bass, this is a legendary lineup of Florida death metal. Four albums have been released on Hells Headbangers / Osmose Productions, and new material will be presented on tour!
The paranormal Omegavortex whirlwind of uncontrolled chaos is summoned from a black hole for their first European tour. With shows confirmed worldwide, this will be a rare opportunity to witness the barbaric, all-destructive, ultra-aggressive brutality on their own continent. Expect traditional death metal riffs in the style of old Morbid Angel and Necrovore, performed with the intensity of Revenge and Angelcorpse, and produced with a devastating sound like Bestial Warlust and Sadistik Exekution – yet in their own unique style!
Prepare yourselves, mortals––as 1349 unleashes Inferior Pathways, the latest onslaught from their forthcoming album, The Wolf and The King. This infernal hymn channels the quintessence of 1349: unrelenting, blast-heavy, and furious. Inferior Pathways is a seething maelstrom of chaos and carnage, and it’s the perfect example of why 1349 are the ultimate masters of black metal.
Wreak havoc with the virulent guitars and manifold blasts of this third single that ties an iron spine of classic headbanging riffs to an inexorable groove – a flawless execution of raw, blackened power. 1349 continues to stretch the boundaries of the genre, infusing their relentless blast beats and searing guitars with an atmosphere of apocalyptic elegance.
Recorded at Amper Tone in Oslo, Norway, and New Constellation R.M.P. in Orlando, Florida, The Wolf and The King was produced and mixed by Ravn and Jarrett Pritchard (Eulogy, Pulchra Morte). The album promises a tempestuous journey through eight tracks of pure, unadulterated black metal, from the voracious onslaught of the previously release single The God Devourer to the sinister depths of Shadow Point. The Wolf and The King is out October 4th on Season of Mist.
Tracklist 1. The God Devourer (5:10) [WATCH] 2. Ash of Ages (5:27) [LISTEN] 3. Shadow Point (3:40) [WATCH] 4. Inferior Pathways (4:28) [LISTEN] 5. Inner Portal (5:08) 6. The Vessel and The Storm (5:15) 7. Obscura (3:44) 8. Fatalist (5:51) Total runtime: 39:01
1349 is not like other bands. It’s not a group of friends who decided to make music together. 1349 is a band formed with a unified vision and specific purpose: To maintain the legacy of black metal.
“I didn’t like the direction that black metal took in the mid part of the ’90s,” 1349 vocalist and mastermind Ravn recalls. “It started losing everything that I liked about black metal—the grimness, the eeriness, the primal emotions that captivated me and brought me into that sphere. You had all these synthesizer-based bands dressing up in pirate shirts and looking like goths. It ruined something that I truly hold close to my heart.”
In 1997, Ravn formed 1349 and recruited bassist Seidemann and, now former, guitarist Tjalve to help him pursue the vision of recapturing the original spirit of black metal. The longstanding lineup of Ravn, Seidemann, guitarist Archaon, and drummer Frost (also of Satyricon) has been in place since 2001. “I found people that felt the same way as me,” Ravn says of his bandmates. “We wanted to bring back the trademark of Norwegian black metal, as it was presented in the early 90s. Every time we release an album, that’s the inspiration and the backdrop.”
The Wolf and the King is the latest sortie in that crusade.1349’s eighth album sees the Oslo-based band harnessing the primordial energy of black metal’s decade-defining second wave and channeling it through ancient mysteries and the relentless global chaos of the 2020s.
The album title comes from a classic alchemical allegory: A wolf devours a king. Then the wolf is devoured by flames, and a new king rises from the ashes. “When I first heard about alchemy when I was young, it was people turning metal into gold,” Ravn says. “Further down the road, through various literatures and magical practices, I realized that what you’re turning into gold is metaphorical. It’s about personal development, basically. You want to be the best you can be, and that’s what we try to do as well. We try to top ourselves, to kill our egos in order to grow as persons. If you don’t do that, you will die. You will not rise from the ashes.”
Lead single “Ash of Ages” combines thrash with extreme metal flourishes and a proper doomsday theme. “The song is based on a story I read about a layer of ash that covered the Earth 12,000 years ago,” Ravn explains. “This layer of ash comes from a meteorite that struck the Earth during the Ice Age. It melted a lot of the ice, which is where the Great Flood came from. The Great Flood is in the Bible, but it was written about in every ancient culture. The theory is that it washed away a lot of other ancient cultures that held a higher intelligence level than those that were found after the flood. So, it possibly set human civilization back many thousands of years.”
Released as a one-sided maxi-12” with a flipside etching by Jordan Barlow—who did all the artwork for The Wolf and the King (as well as the band’s 2019 album, The Infernal Pathway)—“Ash of Ages” is also a warning to check your ego. “To think that you’re important, that you’re anything but an ant down there, is futile,” Ravn points out. “In the end, everything will be washed away, and nothing will be left.”
“Shadow Point” comes complete with a video and revisits the sonic domain of The Infernal Pathway with a classic headbanger groove. “This one references the Star of Algol, or ‘the Demon Star,’” Ravn offers. “It’s actually two stars that revolve around each other, and the small one is devouring the big one. Human beings have seen this star from early ages, and it has had many names over the years. It’s a known part of the magical world, so I wanted to include it in a song.”
Shot through with menace and a snaky groove, album opener “The God Devourer” will also have a video. “The lyrics are based on the alchemical principle of devouring all that you feel is in your way of becoming a better human,” Ravn says. “It sets the ominous tone for the whole album.”
Recorded at Amper Tone in Oslo, Norway, and New Constellation R.M.P. in Orlando, Florida, The Wolf and the King was produced and mixed by Ravn and Jarrett Pritchard (Eulogy, Pulchra Morte), the band’s long-standing sonic wizard who also worked on their previous two albums. The lyrics were written by the band’s longtime wordsmith, Svartalv, who has been working with 1349 for twenty years.
Jordan Barlow’s elaborate artwork for The Wolf and the King reflects the album’s chronological position in 1349’s discography. “This is our eighth album, and the artwork and lyrics are filled with references to this number of infinity,” Ravn explains. “You can basically go on a quest finding references to the number in the artwork.”
All told, The Wolf and the King is the exalted output of the joint force that is 1349. “We all work together to make the best black metal possible every time we release an album,” Ravn says. “This is our common goal. We’re a band on a mission.” Line-up Archaon – Guitars Frost – Drums Ravn – Vocals Seidemann – Bass
Recording Studio Amper Tone (Oslo, Norway) & NEW CONSTELLATION R.M.P. (Orlando, USA)
Production Credits Produced by Jarrett Prichard & Ravn Mixed by Jaerrett Prichard & Ravn at NEW CONSTELLATION R.M.P. Mastered by Jaerrett Prichard at NEW CONSTELLATION R.M.P.
On October 31st internationally, W.T.C.Productions is proud to present Shaarimoth‘s highly anticipated third album, Devildom, on CD and vinyl LP formats.
Formed in 2004 but tracing its origins back to 1998, Shaarimoth emerged from the then-barren Norwegian death metal underground, and along with it, so did new incantations of darkness, death, and destruction. Both dark and ecstatic, furious and violent, defying genres, but at the same time paying tribute to its predecessors of the black arts, Shaarimoth‘s goals were firm from the very beginning.
To date, Shaarimoth have released two albums, a full 12 years apart: 2005’s Current 11 and 2017’s Temple of the Adversarial Fire. Indeed not ones to rush things, the Norwegians maximize “delayed gratification” and embrace bold & brazen reinvention. Such was the case for the universally celebrated Temple of the Adversarial Fire, which saw Shaarimoth evoking the album’s namesake: a wholesale stripping-down their aesthetic to its barest essentials, only to be rebuilt into an incendiary, black-smoke-billowing monolith of blackened death metal majesty. Rarely in the nowadays metal underground will one hear a death metal record this pure and reverential in its intent whilst being so suffused with the blackest of blood…that is, until the arrival of Devildom.
Almost elegantly simple in its title, Devildom nevertheless reveals the fullest depth(s) of Shaarimoth‘s ever-entrancing vision. The template remains unyielding and limitless – technical Morbid Angel-esque death metal given unique twists in texture, ambience, and authentically occult lyrical content – but the execution of such is taken, impossibly, up to yet another level. Devildom delves into themes of darkness, death, rebellion, and the acosmic forces of the infernal, guiding the listener on a journey through the boundless abyss, beyond the illusions of creation. It reveals a path to transcendence, returning to the true darkness from which all things arise and to which they will eventually return. Grounded in esoteric philosophies and dark spiritual doctrines, the music acts as a conduit to an otherworldly domain where reality’s limitations are cast aside to embrace the forbidden light of the dark gods. More than just a collection of songs, Devildom offers a ritualistic experience meant to invoke the Devil’s presence and power, immersing the listener in a realm of liberating madness. This journey celebrates the sinister and the spiritual, inviting exploration of the shadow self and crossing the boundaries between the mundane and the mystical to confront the darker aspects of existence.
Thankfully, a dozen years were not necessary for Shaarimoth to continue the glorious new epoch they ushered in with Temple of the Adversarial Fire. Patiently and painstakingly crafted all the same, Devildom soundly cements Shaarimoth‘s status as the Devil’s Death Metal ELITE.
In the meantime, hear the brand-new track “The Midnight Sentinel” here:
Cover artwork, courtesy of Vamperess Imperium, and tracklisting are as follows:
Tracklisting for Shaarimoth’s Devildom 1. Call To Prayer 2. The Midnight Sentinel 3. Blood Covenant 4. Into Everlasting Darkness 5. The Voiceless Call 6. Apotheosis 7. Blade Of Malediction 8. The Impulse Of Rebellion 9. When Blood Becomes Fire 10. For His Eyes Of Judgement Are Forever Upon You
Today, French black metallers Tour d’Ivoire stream the entirety of their highly anticipated debut album, self-titled Tour d’Ivoire. Set for international release today via Antiq, hear Tour d’Ivoire‘s Tour d’Ivoire in its entirety here:
Tour d’Ivoire is an atmospheric black metal project created by Hyver (Véhémence, Grylle, Hanternoz) and La Griesche (Grylle, Cercle du Chêne) in early 2023. The atmosphere of this first eponymous album is thick and mysterious as a twilight fog: extreme vocals emerging from hypnotical riffs, synthesizer melody, and spectral choirs. The French lyrics treat, with a fatalistic view, the contemplation of landscapes and architectures out of mystical dreams, as depicted by Sperber Illustrationen for the album’s cover art.
Antiq is a label dedicated to the fully coherent concept of making music through sound, image, video, and attitude. They have been putting their entire existence into it since 2009. Over the years, Antiq have been identified as producers of not only perfectly coherent lyrics and themes through music, but also conceptual art and, of course, the manufacturing of beautiful objects. The label tries as much as it can to work with French creators, and if possible, with the smallest and most serious structures.
Aforementioned cover artwork and tracklisting are as follows:
Tracklisting for Tour d’Ivoire’s Tour d’Ivoire 1. La Tour [8:34] 2. Brouillard [9:09] 3. Forteresse de Marbre [7:54] 4. Givre [7:44]
Today, legendary Finnish black metallers Horna reveal the new track “Hymni V.” The track is the second to be revealed from the band’s highly anticipated 11th album, Nyx – Hymnejä Yölle, set for international release on September 13th via W.T.C.Productions. Hear Horna‘s “Hymni V” in its entirety here:
Horna need no introduction. Formed in 1994 when they were but teenagers, the band soon began creating a vast, prolific catalog – and, since the early 2000s, began asserting considerable influence over the black metal underground both in their native Finland and abroad. And while there are three distinct eras of Horna – the Nazgul-fronted version during the late ’90s to early 2000s, then the feverish Corvus-fronted years from 2003 to 2009, and finally, the Spellgoth-fronted lineup that began the 2010s and which has seen a few lineup shifts but has patiently parceled out recordings ever since – stellar songwriting and impassioned playing have always been their hallmarks. Their sound may’ve undergone subtle shifts of texture throughout those many years, but Horna‘s vision of unapologetic BLACK METAL has never faltered: proud and pure, familiar yet unique, and undeniably eerie and emotive.
Fitting for their 30th anniversary, Horna now unveil a new full-length that bridges past, present, and future: Nyx – Hymnejä Yölle. While the preceding Kuoleman Kirjo challenged with its sheer length – then again, so did 1999’s classic Haudankylmyyden Mailla, which retroactively wielded influence on that album and this next one – it nevertheless comprised 13 mostly-compact rippers emblematic of the Spellgoth era: nightsky melodicism conjured forth by founding guitarist Shatraug and longstanding six-string foil Infection, with the new rhythm section of drummer LRH and bassist VnoM creating blistering speed that was somehow swinging. That lineup carries forward to Nyx, and largely does that songwriting schematic. But whereas its predecessor touched upon a moodier aspect, on Nyx do Horna expand upon that in conjunction with longer tracks; six songs in 44 minutes should be easy math for most people. However, the album’s structure is unique in that the first five tracks are Roman numeral variations of “Hymni,” and thus fit a framework of crisp, mystical black metal both nostalgically ancient yet somehow surprisingly “modern.” Then comes “Kuoleva Lupaus,” which features former bassist (and currently Kryptamok mainman) Hex Inferi. Solemn and stripped back unlike anything else in their extremely deep discography, this nine-minute closer is essentially neofolk, but unmistakably done the Horna way. A haunting end to a majestic catharsis…
Of especial note is the production across Nyx: arguably the “cleanest” production Horna have yet had, it only heightens said mysticism and adds a palatable sheen to these raging wraiths of song – the latent emotion brought to a boil, the hypnotism pulling heartstrings in magickal collusion. It speaks to the strength of their songwriting, once again, which somehow manages to become ever more focused yet varied as time marches on. And although nods to the Nazgul era are noticeable – the Corvus era stands cold ‘n’ alone in its righteous, ragged filth – this synthesis of peak performance and professionalism with spectral songwriting becomes its own new “era,” in effect. Or, simply, it’s Horna. Their legendry continues to be written…
Hear the recently revealed video “Hymni I” HERE, also at W.T.C.‘s official YouTube channel. Cover artwork, courtesy of Dhomth, and tracklisting are as follows:
Tracklisting for Horna’s Nyx – Hymnejä Yölle 1. Hymni I [8:46] 2. Hymni II [7:46] 3. Hymni III [6:08] 4. Hymni IV [7:32] 5. Hymni V [5:00] 6. Kuovela Lupaus [8:46]
