The fourth album by this German quintet features their new vocalist Lukas Nicolai, along with founding guitarist Nahuel Lozano and bassist Viktor Dick, and for their second outing drummer Danny Straßer and guitarist Marvin Kessler. I mistakenly assumed they were symphonic black metal with death metal inclinations from the song I listened to when deciding whether to review the album, but they are so much more.
The instrumental opener “Midtvinter” is choral and orchestral with a thunderous but epic backdrop which plunges dramatically into the manic blasting and deathcore growls of “Obsessis a Daemonio” as the vicious riffs have me picturing wind-milling heads, as there’s no way to headbang at the speed the snare is being pounded, when at full pelt.
“Forgotten Kings” has a hint of early Dimmu Borgir about it with the speed and ferocity of the guitars and drums, which are tempered by the melodic orchestrations that the song drops in and out of to add to the epic feel overall.
The violins over the drums and acerbic vocals over the melodic guitars on “Pest” are also blended together before an excellent lead break takes to the fore and steals the show.
The brass section on “Nordlys” flows with the guitars as the notes run around the fretboard giving the vocals room to go from harsh whispers to deep guttural roars as the pace works its way from steady to blistering.
The tremolo guitars add to the vibrations felt as the kick drum pounds out its repetitive tattoo on “Mortal Shells”, before it all fades to anguished rasps over orchestral reprieves, before building back up to staccato drumming with matching guitar strumming.
The title track “Zwielicht” is effectively an acapella intro for “Symphony of a Dying Star”, which is both beautifully epic and as abrasive as they get on the album.
Feeling almost lethargic in comparison, “The Arrogance of Agony” is very bass centric and while the drum rolls may be frantic, the melody that draws attention to itself is blissfully slow and gentle and never lets the ebb and flow of the guitars and drums detract from its steadfast course.
The album ends with “A Tale of Salt and Light”, which again combines orchestral melodies with the sheer intensity of deathcore breakdowns and vocals that flick between growls and shrieks and low drawn-out roars, while the lead break is heading towards prog rock grandeur.
Easily one of the most intense albums I’ve listened to in a while, but always relying on a melody at its core.
(8/10 Marco Gaminara)
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