This album is described as “an occult rock opera dimming the lines between first wave black metal, classic heavy metal and progressive rock”. “Vertumnus Caesar” is the group’s third album release in five years.

The strange intro takes us back to a courtyard in mediaeval times, to that of Emperor Rudolf II, on whose life this album is based. “Na okraji priepaste otevíra sa hviezdny zámek” (On the Side of the Abyss, the Starry Castle Opens) is followed by the breezy “Kočár postupuje temnomodrými dálavami na juhozápad” (The Carriage Moves Southwest through the Dark-Blue Distances). Highly mobile it is, as the racing melody of the instrumentals is accompanied by sections of the promised classic metal and rasping vocals. There’s a sense of both adventure and danger. The song breaks off to go into baroque mode and spoken word, which sounds imperious even if I don’t understand it, before a rapid and exciting drum and guitar passage takes us to the end. Pomp, solemnity and rampant melodic metal characterise the title song. At the end I was half expecting Rick Wakeman to appear as we return flutily to the Emperor’s court. The start of “Vovnútri chlácholivého útočišta kunstkamru” (Withinside the Kunstkammer’s Soothing Solace). It’s pure classic rock – Deep Purple, methinks – with that crusty voice. It works very well as a piece to listen to. The guitar work is pure and bright.

There is some electronic work in this album, and it comes into prominence on the ghostly “Panstvo salamandrov jest v kavernách zeme” (The Mansion of Dragons Is in Caverns of the Earth). A couple of minutes a flamboyant guitar tune strikes up. The clouds thicken, the drums beat menacingly and the keyboards emit an upbeat tune, joined by the guitars. In spite of its upbeat nature, there are shadows lingering in the air. I liked this lively instrumental. There is a dark chant and strange background noises as if of a cellar. It’s mere introduction to the direct rock n roll of “Maharal a Golem” (The Maharal and the Golem). It’s like a cross between Mortorhead and Hawkwind. The keyboard comes in. Now it’s like “Telstar”. Slowing down, there’s a sinister, menacing whisper followed by a strange brew of electronic gulps and a slowed down heavy section. For the final part the atmosphere turns to grainy black metal. “Mnohoraké útrapy milostpána Kelleyho” (The Many Sufferances of Sir Kelley) speeds off into the distance, growls included. What is most striking is the energy of the riff and the melody of it, that is until a dark chorus enters the scene. The energetic riff returns and takes us towards the final song “I hle, tak zachádza imperiálna hviezda” (And Lo, Thus the Imperial Star Descends). Taking its time more than the others, the song builds up epically at first before the tone darkens. Mid way, it stops and goes into a classic forward-driving rock-metal riff which all the while reminded me of “Kings of Speed”. The guitar takes off and we hear a lofty tune, but soon enough the pace is slow and the vocalist growls and utters his word ominously. It’s not an easy piece to digest but ending orchestrally, “I hle, tak zachádza imperiálna hviezda” has a certain majesty, and without it has diversity.

The description of the styles is accurate. “Vertumnus Caesar” is a combination of classic and black metal presented in such a way that it transforms into a series of evocative passages. The lively guitar work does this album many favours, and although I couldn’t follow the story behind it, musically the album has many interesting sides to it.

(7/10 Andrew Doherty)

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https://invictusproductions666.bandcamp.com/album/vertumnus-caesar