Serpent Lord - The Once Forgotten Ways of Old

#FOR FANS OF: Pagan Black

For newcomers, Serpent Lord might seem like a new project as the debut album has recently seen the light of day, but this is far from the truth. This musical endeavour was created back in 2003 by the well-known musician Jake Superchi, who has been (and still is) in some relevant and highly interesting bands like Ceremonial Casting and Uada, to mention the most prominent ones. It is quite obvious that his involvement in these and other additional projects made it remarkably difficult to keep Serpent Lord active, and apart from a few minor releases, this project was laid to rest for many years.

Fortunately, Jake has found the time and inspiration for reviving Serpent Lord, not only for a demo or split, but this time for the release of its debut full-length, which is indeed a key moment in every project’s existence. 'The Once Forgotten Ways of Old' confirms the master lines that one could glimpse in the earlier works. Once again, this musician shares his devotion to extreme metal, and more specifically, to black metal with a notorious approach to the pagan black metal niche. This debut album consists of six pieces where aggression and powerful riffs play a major role. This is indeed a riff-oriented project where guitars create a myriad of tasteful riffs with a good degree of variety. In any case, the most inspired moments come when these riffs have a melodic touch that makes them particularly enjoyable. The album opener, "Aries Ram", is a fine example with a good display of excellent riffing and a variable pace where fast, mid, and slow-tempo sections are excellently combined. "The Once Forgotten Ways of Old" shows again that Serpent Lord creates rich pieces where highs and lows in the pace are a very well-used resource. Vocally, it is also one of the most varied tracks, where the listener will find a great combination of aggressive vocals with a sort of chorus of clear voices in the background, which works very well. On the other hand, some of the weirder voices used in the first part of the track are not so satisfying, in my opinion. But you know, I can’t be too harsh when you take risks: sometimes it works, sometimes it doesn’t.

The album doesn’t have a lot of additional arrangements, although some occasional acoustic guitars can be heard here and there. One relevant example is the album closer, "Forever on the Grounds of Battle", which is one of the highlights of this debut effort. It successfully combines some of the most aggressive sections, which contain remarkably fierce riffs and relentless drums, with mid-tempo melodic sections that I particularly enjoy. This composition flows naturally between speedy parts and slow ones, incredibly easily and naturally. The more solemn final part of this composition shows the true potential of this project to create long compositions with an interesting degree of majesty.

'The Once Forgotten Ways of Old' is a very good debut album by Serpent Lord. The riffing and the undeniable talent for creating enjoyable melodies should form the basis to build upon and create more unique pieces. Aggression must not be left behind, but it should be just one element surrounded by more ambitious riffs which could lead to creating truly epic compositions. (Alain González Artola)

(Eisenwald - 2026)

Score: 78

https://serpentlordusa.bandcamp.com/album/the-once-forgotten-ways-of-old

Sunken - Lykke

#FOR FANS OF: Atmospheric Black Metal

I discovered Sunken back in 2013 when they were still using their old name, Arescet. That name didn’t last long, as the members decided to change it to the current name. Shortly before the change, they released their debut demo entitled 'The Cracking of Embers,' which was a phenomenal first effort, showing the great potential of this band. I was particularly mesmerized by the title track, which contained many of the strong points that make atmospheric black metal a captivating genre.

After the name change and the re-release of the debut demo under the new moniker, Sunken has released two excellent full-length albums that have confirmed the potential glimpsed in that demo. The band has taken more time than usual for its new creation, and after five years, the new opus entitled 'Lykke' is here, with a physical release courtesy of the always reliable Eisenwald. The album follows the pattern of previous works but shows more detailed and mature compositions. Sunken plays very intense atmospheric black metal where a fast pace is very dominant, although this does not mean that the pace is monotonous, as ups and downs are also found in the songs. The album contains four long compositions where intensity is always powerful. Martin’s vocals always deliver passionate high-pitched screams that perfectly fit with the music, while the guitars have the trademark tremolo picking that sounds dope. If black metal has something special, it is that the rage you feel comes from the very depths of the musicians. Those agonizing screams, that inherent melancholy and rage, are what drive the music, regardless of the intensity and pace. A song like "Og Det Er Lykke" is a perfect example of this storm of emotions that can be felt, both in the classic fast-paced and powerful sections, but also in the calm yet emotionally intense parts.

"Glaedesfaerd" is a track where the great use of contrast achieves an excellent result. The pace changes dramatically, and the guitar lines are excellent, combining sharp riffs with more melancholy and acoustic chords, resulting in an impassioned combination of sensations. Sunken makes music that touches the listener, and I honestly think they achieve what they seek. At first glance, a shallow listening might make you think that Sunken creates songs of relentless pace and fury. Nevertheless, beyond the surface, there is much more: slower sections very rightfully placed, excellently crafted guitar lines, and an intense atmospheric feeling that envelops the entire composition.

'Lykke' is undoubtedly a top-notch album that demonstrates why atmospheric black metal can be a rightfully captivating genre. All the instruments, including the vocals, are tastefully combined to create an intensely overwhelming atmosphere that immerses the listener in a maelstrom of powerful sensations. (Alain González Artola)

(Eisenwald - 2025)

Score: 90

https://sunkendenmark.bandcamp.com/album/lykke-2

Ellereve - Umbra

#FOR FANS OF: Dark/Folk/Post Rock

Ellereve is an Austrian solo project whose mastermind is the German artist Elisa Giulia Teschner. Since her debut effort, 'Heart Murmurs', this project has represented the collision of two forces: one delicate and melancholic, showcasing the most introspective side of the artist, and the other full of force and intensity. The palette of different influences, such as dark folk, doom metal, post-rock, and some blackish touches, forms an enriching number of layers that define what Ellereve offers to the avid listener seeking something soulful and unique.

The latest offer, entitled ‘Umbra’, is another step in Ellereve’s faultless career, a step further into darker realms as the compositions have a heavier, darker, and more intense feeling. The compositions of this album explore complex concepts related to emotions and inner conflicts. Elisa’s hypnotic and deeply emotional voice is undoubtedly the star here, a beautiful yet pale and delicate star surrounded by a vast, gloomy sky. ‘Umbra’ deepens the influences coming from post-metal and doom, even adding some blackened textures. Even though there is no break from what we knew of this project, it presents a more intense musical depiction of her vision. The contrast between the calmest and heaviest sections is a very common, yet always tastefully used resource in this album. "The Funeral" has plenty of these moments, where Elisa’s absolutely stunning and touching voice explores different levels of intensity and tones, while the heavy riffs and solid drums accompany the ups and downs in strength in a very adequate way.

The aforementioned layers of Ellereve’s music are present in another top-notch composition like "Irreversible", where the heavy burden of untold feelings storms the listener in the form of excellent guitars, whether they are heavier or have a more fragile and atmospheric touch. The single "Crawl" certainly deserves to be highlighted, as it is one of the best compositions and probably the catchiest. It contains excellent harmonies that irreparably stick to your head and soul. It was indeed a great choice by Ellereve, as it rightly represents what ‘Umbra’ offers. In any case, I could spend lines and lines describing each song, as all of them have a great amount of work behind them. The approached concept may be the same, but the enriching diversity and excellence in Elia’s vocal lines, the tasteful work in the guitars, and the always variable structure in the compositions create an album that requires many listens to be fully appreciated.

To summarize it in a couple of lines, 'Umbra' by Ellereve is like a stormy day in spring. The intensity and darkness of the storm are accompanied by peaceful moments when even the sun can appear and enlighten us. 'Umbra' is an emotionally intense musical experience, where the singer’s delicate yet powerful voice finds its counterpoint in the powerful riffs, even though all the instruments can adapt their fierceness to what the composition requires. (Alain González Artola)

(Eisenwald - 2025)

Score: 88

https://ellerevemusic.bandcamp.com/album/umbra

Panzerfaust - The Suns of Perdition - Chapter IV: To Shadow Zion

#PER CHI AMA: Black/Death

Ignoravo l’esistenza dei Panzerfaust, e ora mi maledico per questo abisso di ignoranza! È stata una casualità, un inciampo su Spotify, a condurmi tra le spire di 'The Suns of Perdition - Chapter IV: To Shadow Zion', l’ultimo atto dei canadesi, e sono rimasto pietrificato, la bocca spalancata davanti a un’oscurità che mi ha divorato l’anima. Questo disco non è solo un album: è il capitolo finale, trionfale e funereo, che sigilla l'oscura tetralogia iniziata nel 2019, un’opera monumentale che mi ha trafitto con la sua cupezza fin dalle prime note. “The Hesychasm Unchained” mi ha ghermito con ritmiche iniziali che stillano disperazione, mentre i vocalizzi dei due cantanti – simili a lamenti di dannati – s'incastrano in una struttura ritmica che soffoca, un mélange spaventoso e irresistibile di black e death, brutale eppure melodico, marchio di fabbrica di questo quartetto dell’Ontario. È un’epopea macabra, una cavalcata di cinque capitoli che si dipana per tre quarti d’ora, un viaggio nelle tenebre dove l’opener brilla come un faro nero, ma dove ogni traccia pulsa di un’energia maledetta. “When Even the Ground Is Hostile” irrompe con sincopi che tagliano come lame arrugginite, mentre “The Damascene Conversions” si erge più lenta, quasi solenne, con una dinamica che intreccia cambi di ritmo, graffi acustici che lacerano il silenzio e armonie strumentali che affascinano come un rituale proibito. Niente interludi, stavolta: il flusso è inesorabile, un torrente di desolazione sorretto da atmosfere che ti avvolgono come nebbia su un camposanto abbandonato, amplificando una narrazione che stringe il cuore in una morsa. E poi, l’apice del terrore: “Occam's Fucking Razor” è una lama di black/death sghembo e martellante, un assalto che squarcia ogni speranza, seguito dalla conclusiva “To Shadow Zion (No Sanctuary)”, un monolito opprimente che cala il sipario su questo disco come una sentenza di morte. Non ho scampo: questo lavoro mi ha incatenato, obbligandomi a scavare nelle viscere degli altri capitoli della saga. I Panzerfaust sono una rivelazione oscura, e io sono condannato a seguirli nell’abisso!(Francesco Scarci)

(Eisenwald - 2024)
Voto: 80

https://panzerfaust.bandcamp.com/album/the-suns-of-perdition-chapter-iv-to-shadow-zion

Fellwarden - Legend: Forged in Defiance

#FOR FANS OF: Atmospheric Black Metal

Fellwarden is a fascinating project born from the mind of the always creative musician, The Watcher, who is involved in several projects. Fen is, for sure, the most well-known of them and one of my favorite projects out there. While Fen successfully combines atmospheric black metal with some post metal/rock influences, Fellwarden was born with stronger ties to the first subgenre. The project was created back in 2014, and it has released two excellent albums, which are an honest musical proof of The Watcher’s immense talent and passion for this style.

As this year marks the tenth anniversary of Fellwarden, the English solo-project is back with its third installment, which is usually a crucial one because it usually shows if a project is capable of reaching a new point of evolution in its sound. The name of the new opus is 'Legend: Forged in Defiance' and the title itself shows a certain idea of how the album can sound. This is an effort that does not differ dramatically from its predecessors, but it surely has a stronger epic tone in their compositions. A preconceived feeling that is reinforced if you take a look at the majestic artwork, courtesy of the legendary Belgian artist Kris Verwimp. 'Legend: Forged in Defiance' contains six songs (seven if you have the limited edition), in which The Watcher unleashes his creativity with long and rich compositions, where all the traditional elements of this project can abundantly be found. The album opener "Exultance" is for sure a great choice to start listening the album. Ten minutes of pure atmospheric black metal with a majestic tone thanks to the addition of some clean vocals and an excellent powerful riffing. The classic raspy vocals are also there as a great contrast and have a great presence as you could expect. The ups and downs in the pace are excellently placed and make the song flow adequately, never letting it to sound predictable or flat. The combination of fast and slower sections varies in its distribution depending on the composition. In any case, mid-tempo sections, and even slow ones, are more prominent, like you can listen to in compositions like "Despair", which is clearly slower than the album opener. The subsequent track, "Renewed Hope", has a great contrast between the different sections of the composition.

"Desperation" is another excellent song, where the introduction of acoustic guitars, along with some touching clean vocals, creates an undoubtedly solemn and emotional atmosphere, excellently contrasted by the always necessary ferocious moments. The last part of the album follows very similar patterns, although the general pace is here predominantly slow, which is not actually an enormous issue. Nevertheless, at least for me, it leaves me with the feeling that the second half of the album lacks a bit of energy that some faster and heavier parts would give. From my point of view, this contrast between the solemn mid-tempo/slow parts and speedy sections would be beneficial for the album as whole.

All in all, 'Legend: Forged in Defiance' by Fellwarden is an excellent album. The tasteful and enriching compositions, the epic general tone and the great performance by all instruments and vocals, weights more than the occasional feeling in the final part of the album, that this effort lacks some ferocity. (Alain González Artola)

(Eisenwald - 2024)
Score: 82

https://fellwarden.bandcamp.com/album/legend-forged-in-defiance

Cantique Lépreux - Le Bannissement

#FOR FANS OF: Black Metal

The always prolific scene from Québec brings us again some quality stuff, and as usual, it is something strongly connected to its superb black metal scene. This time it is the turn of Cantique Lépreux, a band formed ten years ago in Quebec City. Its four current members are also quite active in the scene, particularly the three founders, who are involved in several projects. This makes clear the close relationship between the different projects and how involved the musicians are. Although the band’s first years were quite active with the release of two very solid albums, it has taken much more time for the new opus to see the light of the day. The result initially seems to be quite good, the reason why the well-established label Eisenwald has decided to release it.

 

'Le Bannissemnt' is the name of the new beast, and it has most of the characteristics of this local scene. To be fair, the projects that I have listened to have their own distinctive point, but in general you can feel that the full scene shares some aspects that make it easy to identify a band from Quebec. Cantique Lépreux is not an exception, as its black metal has a distinguishable aspect that makes you know immediately its origin. Tremolo picking guitars reign here with an excellent work, accompanied by the characteristic agonic shrieks and a mainly quite fast pace through the whole album. Remarkably powerful tracks like the album opener "Le Revissement" and last track "Consécration" are the perfect examples. They go straight to the bone, with ferocious and fast-paced drums and some intimidating powerful screams. The tremolo riffing, so characteristic of the genre, is totally dominating here with an impeccable performance, full of excellent riffs. These are the type of tracks that must make the audience go mad on the stage, for sure. A longer track like "Riviéres Rompues" also shows that the guitar players can add more variation to the riffs. The addition of some nice solos, which are perfectly well performed, is also enriching. There are not a lot of calm moments on this album, and honestly, one of the fewest that the listener will encounter are found in "Le Rêve Primordial". This composition contains some mid-tempo and even slower sections, which mark a good contrast to the domination fast ones. Some acoustic guitars are also included, a fact that, coupled with the more diverse pace, makes this song the most varied one of this album.

In conclusion, 'Le Bannissement' is a quite good album from Cantique Lépreux. It doesn’t revolutionize the local scene, but it offers exactly what the listener wants. Its seven very solid compositions, with an excellent guitar work and an undoubtedly energetic pace all along it, will surely satisfy you. (Alain González Artola)

(Eisenwald - 2024)

Score: 75

https://cantiquelepreux.bandcamp.com/album/le-bannissement