It came as big surprise when Roman Saenko decided to resurrect Hate Forest 15 years after they seemingly combusted with ‘Sorrow’. Released on Xmas Day 2020 ‘Hour Of The Centaur’ came out of nowhere, seething with rage, spite and vengeance but with much better production than the old material. For many it was time to give them a second chance and hope that with the removal of past members the now one-man outfit could partly cleanse itself from many of the exponents that made them undeniably contentious and loathsome in the first place. What Roman may not have foreseen at the time, although the cards were more than ready to be dealt, is that his country was to be invaded and the start of a long drawn out and embittered war was going to consume every aspect of life in his homeland of Ukraine.

Naturally the result is a ferocious album that is again delivered as a two-fingered statement as the year draws to a close and one that there seems little in the way of respite as everyone waits with baited-breath for the Russians to make their next move. Obviously, we cannot quite envisage what Roman is thinking, no interviews are given as far as any musical or personal beliefs are concerned and the reclusive artist sticks to what he does best making music. Following on from Drudkh release ‘All Belong To The Night’ earlier in the year it is quickly evident that this is it’s savage and bitter sibling. Tearing straight in with ‘’Those Who Howl Within The Snowstorm’ it’s a cold and hostile yet incredibly precise rite of destructive power. The melodicism is there for all to revel in despite the seething ferocity of the music which as title suggests is just like being thrust into a blizzard. Vocals are hoary and gruff, low and barking on the one hand but slightly over the top of these are yapping higher snarls giving the best of both worlds.

The only clues to ‘Innermost’ thoughts are glimpsed at via the song titles such as ‘By Full Moon’s Light Alone the Steppe Throne Can Be Seen’ the unrelenting fury of which batters in as the first chapter is despatched. All of a sudden, the fuzzy guitar and massive battery is dropped out by some gorgeous acoustic guitarwork and breath is literally taken away. It’s not the only passage within the icy blast of this concise 35-minute attack but boy is it effective. The repetitive strum and necrotic bestial vocals of ‘Ice-Cold Bloodless Veins’ is as mesmerising as it is vindictive, no quarter is given although an air of despair permeates its harsh, unstoppable march. The clamouring ‘Temple Of The Great Eternal Night’ sounds like a call to arms, there’s almost a siren effect to its pronounced guitar weaves and the counterpoised passage of acoustic plucking is by comparison a candle of mournful beauty amidst a sea of darkness and one which will certainly haunt over repeated listens.

Intense and wrathful this is a powerful statement that is an all-consuming listen. Its power and violence cannot be denied and whatever you feel about the band’s past ignominies it’s a bristling example of exactly what black metal should sound like; downright dangerous and seriously hateful.

(8.5/10 Pete Woods)