Archive for Symphonic Black Metal

Quintessence Mystica stream first song from upcoming album

Posted in News with tags , , , , on 13th May 2014 by Pieni

Ukrainian symphonic black metal act Quintessence Mystica will release their second album “Duality” on the 20th June. The 10 new tracks (titles below) promise to take you “in an irrational and cosmic journey” (quoting their label Schwarzdorn Production).

For now, the duo composed of Master Alafern and Dromos Aniliagos has presented the fans with the track “The Infinite Dance Of Numbers”, which is available for streaming on YouTube and SoundCloud.

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Track list:
1. Prelude
2. The Secrets of Victorious Decisions
3. The Infinite Dance of Numbers
4. Sparks of the Glorious Fire
5. Impulse of Courage
6. Inversion of Reality
7. Destruction of Galaxies
8. Creep & Damage
9. Equations of Daemonic Revelations
10. Breathing of Saturn

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Whorion – Fall of Atlas EP

Posted in CD, Metal with tags , on 6th January 2014 by izaforestspirit

Whorion
Fall of Atlas EP
Released 17th January 2014
Symphonic Death/ Black Metal
Released via: Eternal Sound Records

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‘Fall of Atlas’ is the first EP from the Finnish symphonic black metal band Whorion. The band was originally formed back in 2009. They describe their style as “brutal” and “symphonic”, creating a feeling of listener being “sucked into a dark matter of space, slowly waiting for the world’s end”.

So here it is, my first review in the new year. The terms “brutal” and “symphonic” don’t usually mix as far as extreme metal is concerned, so I’m a little intrigued as to how this combination could work… The opener Great Mass Suicide definitely fits the “symphonic black metal” -bracket. Comparisons to mid-career Dimmu Borgir spring to mind, though this also features death metal -style growls and guitar patterns. The Dimmu Borgir elements are present in the orchestral style synth melodies and vocal samples particularly audible on tracks such as Vortex of The Dead. By the time this second track comes on, the vocal style seems to have switched completely moving away from growling towards a more black metal sounding screaming or shouting.

One thing which spoils the effect is the use of the stop-start guitar technique and the somewhat odd-sounding vocals which seem to vary in style depending on the song. Sadly it is the title track which embodies all these problems offering a bizarre mix of technical guitar patterns, brutal blackened death metal and symphonic, orchestral style synths. The result is a rather confusing mess that leaves the listener hanging, and you are not quite sure where this is heading.

Symphonic, brutal and technical? Yeah, I still don’t quite get it.

3/5
Iza Raittila

Hecate Enthroned – Virulent Rapture

Posted in CD, Metal with tags , , , , , , , , , on 12th December 2013 by Nico Davidson

Hecate Enthroned
Virulent Rapture
Released 25th November 2013
Symphonic Black Metal
Released via Crank Music

Anyone know follows the British black metal scene will have no doubt encountered the legendary, if somewhat unsung, heroes of the scene: Hecate Enthroned. Following the release of Redimus in 2004, the band have remained fairly quiet – or as quiet as you can possibly get when playing black metal. However, following their recent pact with Italian label Crank Music, Hecate Enthroned are set to rise again.

The eerie orchestration of Thrones Of Shadow acts as the beginning of the ritual that is Virulent Rapture. The haunting orchestration leads into the fierce wailing guitars and bestial vocals, as the keyboard passages create a Poe-like atmosphere that glides gently between the crushing use of guitars, bass and drums and the hate-flavoured vocals. Unchained sees the waves of Plutonian darkness continue to flood forth from the snarling guitars and hypnotic keyboard medleys whereas the bass and drums are more thunderous and barbaric, creating a perfect contrast.

The introduction of Abyssmal March creates an atmospheric mood, painted with varying Cimmerian shades but the unrelenting charge of the heavier instrumentation rushes in, leading a vicious use of screams and Hadean keyboard medleys. Plagued By Black Death features a melancholy piano passage which dances like a spirit at dance macabre with the vocals and guitars in a certain, almost seductive manner portraying beauty and a bestial nature in one vessel. Euphoria explodes in like a volcano, domineering one’s hearing with a visceral assault of guitars and drums and some heavy punches from the vocals. The guitars whip out melodic passages, which are accompanied by a mystifying layer of orchestration.

Virulent Rapture is a flood of guitars on a biblical scale of proportions, leaving nothing but a path of ruin and devastation – and probably some sore necks as well – in its wake. The hypnotic orchestration does little to sooth the destructive nature of the song, in fact, it enhances it in a dark and ethereal manner. The one calm during in the storm is produced by the haunting guest vocals of Sarah Jezebel Deva who adds an enchanting element to the song. Life comes across as more of a gothic doom anthem, lending an obsessive, memorable and augural sound through the shadowy voices of the guitars and illusory keyboards. The stern use of bestial vocals do contrast away from the music, employing a strong black metal element there.

The alarming riffs of To Wield The Hand Of Perdition leave no room for mercy as they tear their way through the song like wolves hunting their prey. The vocals are formidable at each turn, while the rhythm sections made up by a terrifying assault of drums and bass, alongside the keyboards, strengthen the track. Of Witchery And The Blood Moon, a title that rings true to the band’s name, is somber in its presentation, painting an image of an unrelenting arctic winds, leaving only a cold trail of wintry enchantments. Immateria is a break from the fierce snapping of riffs, lyrical war cries and barbaric percussion assaults, taking the listen sailing down a more gentle river of memorable medleys until Path Of Silence unleashes a storm of deathly riffs and vocals sharp enough to cut steel in two. The percussion and bass falls down heavier than a ton of bricks, finishing off the devastation left by the previous tracks. The keyboards and orchestration finalise the black metal incantations, keeping the band’s signature sound unscathed throughout the chaos.

Raise your horns and bend your knees. The kings of British black metal, Hecate Enthroned, have returned with a masterpiece that has not only become a complete evolution of their sound but proves that they are one of the best bands on the scene and they certainly show no signs of abdicating from their throne just yet.

Nico Davidson

5/5

Hecate Enthroned online:

http://hecateenthroned.com
http://facebook.com/hecateenthroned

 

Victory Records welcome Erimha

Posted in Featured, News with tags , , , , , , , on 4th April 2013 by Nico Davidson

Victory Records have proudly announced the signing of symphonic black metal unit, Erimha from Montreal, Quebec, Canada to its roster. Erimha, which means “Army” or “Legion”, coming from Sumerian culture, base their haunting, melodic, merciless and operatic sound on ancient mythology and spirituality. Their mantra and mission is one of inner strength and how the individual can be as powerful as an entire army.

Formed in 2010, Erimha’s punishingly fresh and savage take on symphonic black metal is spawning a loyal legion of followers in the Canadian metal scene. They released their first full length album, Irkalla in September 2010 which featured guest vocals from The Agonist’s frontwoman, Alissa White. The band, Gore (vocals), Kthien (rhythm guitar), Ksaos (drums) and Diusternas (bass) are going to be an extreme force to be reckoned with on the international metal battlefield.

Erimha will embark on their first U.S. tour in June with their debut album for Victory Records to be released this summer.

For more information on Erimha:
https://www.facebook.com/Erimha
www.victoryrecords.com/artist/erimha

Riul Doamnei release new video

Posted in Metal, Misc., News with tags , , , on 5th January 2013 by izaforestspirit

The symphonic black metallers Riul Doamnei have released an official video to accompany their new digital EP, ‘A Christmas Carol’. Based on Charles Dickens’ classic novel and featuring iconic singer CADAVERIA, the new Orchestral Metal Opera in eleven movements makes Christmas ghosts linger on indefinitely into the New Year.

Turn off the lights, put on your headphones and let the haunting begin…

Maelstrom – The Midnight EP

Posted in CD, Metal with tags , on 13th October 2012 by izaforestspirit

Maelstrom
The Midnight EP
Released: September 2012
Melodic Black Metal
Self-Released

Right from the start of the opening track ‘Eye’ we are treated to some symphonic black metal, complete with shrieking vocals, heavy guitar riffs and melodic keyboards. Though by symphonic black metal, I’m not talking Dimmu Borgir…Think early Hecate Enthroned or ‘Redemption Process’-era Anorexia Nervosa and you will have a better idea of the style of black metal I’m referring to. Though unlike those two bands, Maelstrom likes to add more emphasis on to the guitars with ‘Eye’ being a good example to how to incorporate guitar solos into black metal.

‘Midnight’ is slower and more droning in nature. Even the guitar riffs seem less refined compared to the previous track; the keyboards, though still present, are far more subtle. Then there’s the eerie atmospheric part at the end which fits in well considering the name of the track. ‘Miasma’ is another guitar focused track, complete with occasional solos breaking up what is otherwise a very droning and dry-sounding song. Then we come to the end of this journey with ‘Arctica’ combining the rawness of the other tracks with some atmospheric undertones and haunting, clean backing vocals. Once again it’s the guitars that stand out the most and with a large part of the track being instrumental, the solos become that much more noticable.

Overall this is a decent EP but it’s not one of those albums which you would instantly pick up. It makes for some uneasy listening and if you’re not in the right frame of mind, you are guaranteed to hate it.

3.5/5

Iza Raittila

 

Dark End – Grand Guignol – Book I

Posted in CD, Metal with tags , , , , on 4th September 2012 by izaforestspirit

Dark End
Grand Guignol – Book I
Released in February2012
Symphonic Black Metal
Self-Released

‘Grand Guignol – Book I’ is the third album from the Italian symphonic black metal band Dark End. The band describe their style as “extreme horror metal” and have recently been confirmed as a support act for Cradle of Filth during their European tour.

Symphonic, atmospheric and theatrical seem like the best words to describe the opening track, an eerie instrumental called ‘Descent/Ascent (II Movement)’. Then it’s straight into symphonic black metal with ‘Æinsoph: Flashforward to Obscurity’, which comes complete with melodic keyboards and shrieking vocals that Dani Filth would be proud of. They have even managed to throw in a few guitar solos to spice up this blackened, gothic-horror opera.

‘Spiritism: The Transfiguration Passage’ and ‘Grief: Along Our Divine Pathway’ really do cement the band’s position as Italy’s answer to Cradle of Filth. All the elements are here; from the gothic, orchestral keyboards to the vocals which are a combination of black metal shrieks, part-growls and creepy whispers. In fact, I reckon that if these guys decided to do a cover of COF’s ‘Her Ghost in The Fog’ nobody would even notice the difference…This pretty much sets the tone for the rest of the album as the subsequent tracks offer more of the same; lengthy ballads of gothic horror in all its theatrical, symphonic keyboard-infused glory. The only exception is ‘Pest: Fierce Massive Grandeur’ which features some decent guitar riffs and solos making it stand out as only the song on here that isn’t entirely dominated by the keyboards.

3/5 – If Cradle of Filth isn’t your thing then there’s a good chance that you will hate these guys even more!

Iza Raittila

Greek Titans Sign To Pitch Black

Posted in News with tags , , , , on 25th March 2012 by Nico Davidson

Pitch Black Records is pleased to announce the addition of three outstanding Greek metal acts into its roster and the release of their albums in May. Each band is unique in its own way and style and their albums will be impossible to go unnoticed.

LITROSIS “I am Death” (symphonic black metal) due for release: May 1st 2012.

Their debut album will be the second release in the ‘Blackest Pitch Series’, a series which always features an eclectic selection of black metal with the first pressing being a unique and collectible packaging limited to 333 numbered copies.

MARAUDER “Elegy of Blood” (classic heavy metal) due for release: May 15th 2012

The Greek metal legends are back with their fifth offering! Superb compositions, a powerful production and an already proven performance make waiting for this album unbearable!

SACRED BLOOD “Alexandros” (epic power metal) due for release: May 29th 2012

Sophomore release for this band that goes beyond epic, fusing metal with folk instruments. A concept album adequately dealing with a mighty certain someone who needs no further introduction… Alexandros, better known as Alexander the Great.

More details about each band and album will be revealed soon.

Illnath – Third Act In The Theatre Of Madness [2011]

Posted in CD, Metal with tags , , on 1st November 2011 by Pieni

Band: Illnath
Album: Third Act In The Theatre Of Madness
Release year: 2011
Genre: Symphonic Black Metal

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After a 2-album affair with Worldchaos Production, Danish Illnath
went solo and self-released an EP earlier this year, “Lead The Way”. This work caught the attention of Pitch Black Records, who signed the band and now brings us “Third Act In The Theatre Of Madness”.

Although an extreme female singer is not exactly new, I’m pretty sure most of you will be surprised to know that the vocals in Illnath are provided by a woman, Mona Beck. But she also uses clean tones here and there – the opening track “Third Act” even has a few seconds with a really girlie-like voice, almost lyric – which, in my humble opinion, wins some points over her predecessor Bjørn “Narrenschiff” Holter, given the higher contrast.

The drummer, Dennis Stockmarr, is also new, although I’m still not sure if he’s part of the band “for real” or just a session musician. Whatever the case, I’m glad they opted for a human musician instead of a machine, like so many other black metal bands do.

The music is fast, as it’s supposed to be, but the melodic parts are more than that, as the strings and synths produce a too much elaborated mesh to be called simply “melodic”.

I highlight the keys in “Third Act” and “Snake Of Eden”, the bass and two-voiced chorus in “Scarecrow”, the guitars in “Lead The Way”, “Shorthanded” and “Vampiria” (no, not a Moonspell cover). “Fall Of Giants” is probably the fastest song, while “Spring Will Come” (an antithesis to the moto of the “Game of Thrones” tv series, maybe?) is the softest – if we can use such a term in this genre of music. Bottom line is – this album is full of highlights, and I’m sure you’ll all find different ones to these I’ve mentioned.

4.5/5

Renata “Pieni” Lino

Arcane Grail – Arya Marga [2009]

Posted in CD, Metal with tags , , , , , , on 12th August 2011 by Nico Davidson

Band: Arcane Grail
Album: Arya Marga
Release year: 2009
Genre: Symphonic Black Metal


Russia, once home to the most known communist dictatorship, is fast becoming the home of a an ever growing Extreme Metal scene featuring bands such as Blackthorn, Artania and Arcane Grail. 2009 saw the release of Arcane Grail’s most recent album “Arya Marga”.

The album begins with the self-titled track “Arcane Grail”. The intro is now what would be expected of a black metal band, as the intro is more clean and less aggressive than most tracks classified as track metal. The female vocals are unexpected though when their first part finishes the track transforms into a raging demon. The vocals that follow after sound almost like Nergal’s [Behemoth’s frontman] vocals. The use of double bass pedal adds a certain devilry to the track, whilst the keyboard sections are somewhat gothic in their style and the guitars scream aggression. The female vocals add a new sound to the song overall, though they sound too operatic in sections.

”Of Snake And Raven” begins with a calm, melodic piano medley and strong soprano styled vocals – A tad cliché in terms of the symphonic elements. The guitar sections are heavy and the male vocal parts are raw and aggressive, though the track seems to be more symphonic than metal. “Autumn Wed Us, Sinned And Lone” has a very dramatic and tense symphonic introduction, similar to those of old Nightwish. The guitar riffs are more akin to progressive and power metal as opposed to black metal. The female vocals make another appearance alongside the harsher, more raw male vocals. The keyboard medleys and riffs add a very Gothic-like element to the song, whilst the male vocals add a very death metal sound.

“Renaissant The Reverie” has a very thrash-black metal sound to begin with, mixed with the dramatic symphonic sounds. The vocals are like the demonic wailings of a banshee whilst the female vocals add a very Heavenly touch to the song. The drum riffs are precise to the beat, almost like a machine in their playing. The symphonic elements are very dominant as well with a heavy use of guitars as well. The sorrowful piano beginning of “Sorrow Of Forgotten Pride” follows after. The piano medley does much to create atmosphere. Clean male vocals and soft acoustic guitar riffs follow after, carrying on the solemn sound of the song. The female vocals work magically alongside the clean, male vocals. The track does turn heavy and there’s a use of flutes as well which adds a very mystifying effect to the music. The harsher vocals are featured towards the end, adding a very aggressive touch to the song.

“Imprisoned In The Greatest War” has a very interesting introduction, being composed of the sound of soldiers marching and a military drumroll. The track turns heavy after the sound of a bomb exploding. The riffs have a more black metal sound, combined with the grim screams. The symphonic sections seem to be drowned out by the guitars, drums and vocals – To as whether this is a good thing or a bad thing is something for the listener to decide. “Die Sonnenhymne”, put bluntly, is a buzzkill if the listener if expecting more Russian brutality as the track is composed only of soprano vocals singing in Russian.

“Iniquitous Yoke” brings the brutality and aggressiveness back in full blitzkrieg-like force beginning with a beastly guitar section and demonic vocals. The keyboard sections are astounding and the operatic vocals add a very dramatic touch to the song. The album finishes with “Svyatoy Graal’”. The intro is slower and cleaner than expected and there seems to be a slight more emphasis on the female vocals than the previous track. However the track does take a dangerously violent twist and become more bloodthirsty and rage-fuelled. The track does switch between calm and angry however and there is a wonderful section with a voiceover in what sounds to be Russian.

Though the album seems incorrectly labelled as “symphonic black metal”, Arya Marga has plenty of brutal riffs and brilliant symphonic sections to keep the listener entertained. Arya Marga is a sure sign that many great things will be coming from both Arcane Grail and the Russian Metal Scene.

4/5

Nico Davidson

Artania – Night Shall Crown Ye [2011]

Posted in CD, Metal with tags , , , , , , , , , , , , on 26th July 2011 by Nico Davidson

Band: Artania
Album: Night Shall Crown Ye
Release year: 2011
Genre: Symphonic Black Metal

Russia is known for its cold and cruel winter and its old, bloodthirsty leader Stalin, both of which have shaped Russia into the perfect grim environment for any black metal musician looking for bleak and nihilistic inspiration for their music. The grim environment has done more than just provide inspiration however as it has been the breeding grounds for many underground black metal bands in Russia. In 2007, Artania was born from said breeding ground, with a more black-death metal sound. After several line-up changes, they soon developed a unique blend of symphonic black metal complete with Russian lyrics. “Night Shall Crown Ye” is Artania’s debut album, released originally on May 31st through Graillight Productions in the band’s native Russia but is now available for digital release exclusively through Hunter’s Moon Records.

The air raid sirens of “Alchemic Dream (Demonic Mantra)” begin the album. The symphonic orientated riffs soon follow complete with angsty drums and violent guitar sections. The vocals are a combination of beasty and scary – Probably due to the Russian lyrics they’re screaming. The drum work is very precise and technical, showing great intellectual playing from the drummer. The whispered section is somewhat eerily haunting. The only downside to “Alchemic Dream” is that it doesn’t seem as aggressive as a black metal track usually is – This could be a result of the emphasis on the orchestration or perhaps a fault on the producer’s behalf.

The title track “Night Shall Crown Ye” begins more slow paced with a slightly progressive sound echoing from the drum work. The pace slowly and ever so slightly increases, building up for the appearance of the vocals. To begin with, the vocals are more along the lines of death metal as opposed to black metal. The Russian lyrics help give the track that certain grim touch that very few black metal bands today can pull off. Another key element about the track is the lack of orchestration when compared to the guitars and drums and the use of female vocals is simply enchanting, for lack of a better word. “Mysteries of Order of Priorate Zion” is an aggressive and barbaric track at the start. The vocals have become more hateful and rage-fuelled. There is more use of symphonic elements compared to “Night Shall Crown Ye”, adding a very Gothic sound to it. A big downfall for “Mysteries of Order of Priorate Zion” is that it doesn’t seem as heavy as it’s meant to be.

The acoustic beginning of “Liturgy in Black Colors” greets the listener unexpectedly. Fortunately for those whom don’t enjoy acoustic guitars, the sound of electric guitars soon blasts through. There is more use of orchestration as well as more black metal screams, which is always a good thing for black metal fans. During the second half of the track, the acoustic guitar appears again, which puts a sudden halt to the energy of the track and the vocals seem to be more demonic, more violent and more spiteful, sounding almost like the blood curdling screams of Abaddon. “San-Grinyol (Theatre Of Death” continues from where the previous track finished, bringing in more use of acoustic instrumentation to begin with before the savagery of the electric guitars and drums breaks in. “San-Grinyol” is clearly more brutal than the previous four tracks and is possibly one of the best on the album so far. The guitar solo is well composed though slightly short.

The assaulting drum work and guitar riffs of “Fogs Of Witches Heath” tears through next, bringing raw, untamed energy and aggression with them. The vocals are more bloodthirsty and savage in their sound, which is both terrifying and awesome. The combination of female vocals and piano medleys is immense, especially when when the track turns heavy again with the female vocals working alongside the harsher vocals, in true beauty and the beast fashion. “Towards Northern Wind” brings a calmer approach to the album whilst retaining a certain element of heaviness at the same time. Disappointingly, there is a lack in the use of orchestration, save for the introduction and the middle section. During one part of the second half, the vocals sound very raspy, which is a great effect for both the album and the track. “Thirteenth Sign Of Nostradamus” can only be described as hauntingly Gothic to begin with before the melodic guitar work kicks in followed by the raw sounding vocals. The whole track seems to be more passionate and energetic than the rest of the album which says a lot considering how energetic the previous tracks are.

The album finishes with “Secrets Of The Moon”, which is another track to feature an acoustic beginning. The female voiceover in Russian adds a very creepy sound which is soon fought off by the sudden – and unexpected – increase of heaviness. The track remains consistent in its brutal aggressiveness. The drum work is intelligent and the guitar sections are immense. “Secrets Of The Moon” is possibly the most brilliant way to end the album.

It’s hard to believe that “Night Shall Crown Ye” is the debut album of Artania, as the album has such a mature sound to it, anyone would think its Artania’s third or fourth album. The sound is unique, brilliant and definitely worth a listen, even if some parts of the album are a let down. Clearly, Russia is a country filled with talented musicians and Artania’s “Night Shall Crown Ye” is evidence of this.

4/5

Nico Davidson

Avatar – Millennia [2011]

Posted in CD, Metal with tags , , , , , , , , on 27th February 2011 by Nico Davidson

Band: Avatar
Album: Millennia
Release Year: 2011
Genre: Symphonic Black Metal

“Millennia” is the latest and last release by now disbanded Belgian black metal quintet “Avatar”.

The album begins with the track “Mirrors”, which begins with a slow piano intro. The slow picking of a guitar soon follows. Surprisingly,  the combination works really well. Almost two minutes in the track turns heavy but retains it’s slow pace. The sound of synthetic organs from a cheap keyboard join in the rest of the music when the track turns heavy and the steady beating of a double bass pedal follows after that. The keyboard generated sound of flutes brings the track to a calming end, which is unusually good for a black metal track.

“The Unbodied Serpent” is next. It begins with a folkish and medieval sounding guitar intro, which is soon accompanied by keyboards and some very rough and raw vocals. The drums sound somewhat soft compared to the rest of the music. The use of female vocals along side the harsher male vocals is very reminiscent of “Ethereal”. The keyboards have a very eerie sound to them throughout part of the track and the drums seem to get heavier. The guitars get heavier as well with some nice tremolo picking in sections. The only problem with this track is that it’s too long, though the use of a guitar solo, despite being unusual for this genre, is very nice.

Following after is “The Ancient King”. It begins with an “Iron Maiden” sounding riff, which is soon followed by heavily beaten drums, synth sounds and pure black metal-styled brutality. The vocals, again, are rough and raw. The keyboards perform some nice eerie riffs again, which work very well with the vocals and drums. The use of a guitar solo, just like in the previous track, is brilliant. The bass performs some good riffs in sections of this track as well. “Smoky Mountain” comes next and it begins with an eerie sounding keyboard intro, which sets a dark and grim mood which is soon ruined by clean guitars making an appearance. The track does turn partially heavy and female vocals make an appearance. The keyboards can be heard all the way through the track which is a good thing. The male vocals finally make an appearance over half way through the track, bringing a bit more heaviness to it.

The title track “Millennia” begins with a combination of clean and distorted guitars, which are soon accompanied by keyboards and drums. The vocals seem to over power the track. The track itself seems to have a grand and epic sound to it, something which is rare in black metal, though it doesn’t ruin the track. After a line of clean vocals about two minutes in, the track turns heavy and a great solo finds its way on to the track as well. There is also a brilliant eerie keyboard section towards the end, which eventually is accompanied by a slow, hypnotic bass riff and a clean guitar riff.

“Le Secret Du Soleil”, which is French for “The Secret of the Sun”, is next. It begins with a sample sound of running water, mixed with a keyboard section and an acoustic guitar riff.  The keyboard sounds of flute soon dominate the track, with the distant sound of water in the background along the acoustic guitar. Following after is “Ultra Mare” that brings back the symphonic brutality with a keyboard and guitar intro, followed by pounding drums. The bass line is very rhythmic and works very well with the vocals when they make an appearance. The vocals sound more rough and raw than they have been on the previous tracks. The guitar riffs seem to switch between slightly melodic and brutal. The female vocals make an appearance towards the end and they work brilliantly well with the harsher vocals, which is always a good thing.

“The Summergate” comes next. it begins with a trumpet sound generated by the boards, followed by drums and a sinister sounding guitar riff.  The vocals sound like they’re overpowering the track. The drums keep a nice and constant fast pace throughout parts of the track. The keyboards help give this track a certain atmosphere. The final track “Weltschmerz” which is German for “World-weariness” comes next. it has a somewhat odd intro for a black metal track, as the drums sound very techno and there’s a use of samples from what would seem to be speeches by world leaders. When the keyboards come in, they add more of a techno sound to the track. Samples of other speeches and radio transmissions make appearances throughout the track. There is a slight use of harsh vocals over halfway through the track, which works oddly well.

The sound quality and production of “Millennia” isn’t great, which adds to the sheer brilliance of the album. The use of female vocals on some of the tracks gave the album a bit of a Gothic metal sound as well. However, the techno-sounding track at the end came as a surprise and did ruin the black metal element of the album slightly, despite the slight use of harsh vocals on that track.

4/5

Nico Davidson

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