History and geography lesson time from Ayloss of Spectral Lore as he follows up debut Mystras release ‘Castles Conquered And Reclaimed,’ which was certainly a fascinating album. It mixed burgeoning medieval black metal with well-known traditional folk songs as it explored themes “against empire and aristocracy.” The follow up takes a slightly different route with the folkloric and acoustic songs, which generally are every other number, looking to the East and taking inspiration on “Persian and Arabic modes” complete with in some cases Persian flute the ney played by specialist Stamatis Zafeiropoulos. With it, the theme also shifts to the 15th Century with some epic tales of The Crusades and European colonialism.

It’s a gentle start with ‘The Nightingale’ taking as into the realms of bygone times via violins, the aforementioned ney and tapped percussion. Having set things up by providing an air of scented exoticism the barrage of blasting and angry vocal screams of ‘On the Promises of Angels’ is an abrupt about face and although obviously the focus is more modern the underlying instrumentation provides a clear recognition to the past along with the forceful battle clamour of the turmoil of invading forces determined to claim all they can for themselves. It’s a brutal usurpation which is steely, determined and focused in its pursuit and perhaps, the fact that these numbers are co-ordinated in the way they are, gives the listener the chance to calm down between one exercise of brutality to the next.

Some may find the interludes a bit of a diversion from the cut and thrust and to be fair not all of them hit the right spot with me and do distract slightly from those such as 14-minute epic ‘The Fall Of The Kingdom Of Jerusalem,’ but I guess they are important for narrational aspects. The bloodthirsty vocals and scope of this particular number does sound like a whole army rather than the work of a sole musician and it is one without any of the varied guests listed as being involved on it making it all the more impressive. It’s clear the Saladin and opposing forces are not going to simply bow down and hand over their realm without much bloodshed. Following this ‘Cheragheh Zolmezalem (Oppression’s Fire)’ is the best of the non-metal tracks taking us into the realms of world music and utilising the hypnotic chanting vocals of Nina Saeidi from doom band Lowen giving it a real Dead Can Dance slant. The rousing and triumphant ‘To The Builders’ is a real tour-de-force and with the frantic violin interplay along with the overall themes it is not surprising that Dawn Ray’d are one outfit to draw comparisons to here along with the fantastic Obsequiae. Still, you never know quite what is coming next and the obvious Germanic focus of ‘Wie Schändlich Es Ist’ with opera singer Carling Chiu provides a gorgeous instance of plainsong. It’s the last of the pure acoustic numbers as the last two here really go for the throat making for a really vitriolic finale.

There’s no shortage of ideas here over the 63-minute running time and combining the actual music with the themes provides a heady and at times harsh lesson. I’m not sure I have engaged with this quite as much as its predecessor due to the scope of it all but that’s not necessarily a bad thing as it is obviously a step up for Ayloss and commands the listener to take in all aspects of it. Dig in deep and you will surely be rewarded.

(8/10 Pete Woods)

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