There's something special about French Black Metal. The French language sounds extremely melodious and is perfect for singing that includes extreme vocals. Even for non-French speakers, non-Francophiles, or people who dislike this language may at least appreciate that very special decadent feel that it brings to Black Metal music. But there's also something about this scene's versatility. It might be something romantic and light like ALCEST, mind-blowing and psychedelic like BLUT AUS NORD, or even off the wall crazy like DEATHSPELL OMEGA. Everyone may find something to enjoy when it comes to the French Black Metal Scene. Needless to say, I'm always exited to hear about a new Black Metal project coming from France.

I know there has probably been way too many of those one-man "bedroom" Black Metal projects popping up around the world with the speed of light in the last 10-12 years. Up to a degree where the term "one-man Black Metal project" became a pejorative meme symbolizing an attempt by musicians to gain some easy points; pretending like their lackluster demo was the initial goal and not the result of their sloppiness and lack of creativity. Still, in my lifetime I saw some one-man projects gaining a near-legendary status, and even growing into full bands eventually. So, let us not judge here! I never heard about KOLDKRYPT before, and for the purpose of this review, I will assume you have never heard of this French one-man Black Metal project too. His first album "Fullmoon" came out in 2016. "Holocauste Global" just released six years later via Hessian Firm, and offers a more atmospheric and restrained approach. Where "Fullmoon" was seeking to obliterate your ears with raw aggression and storm waves of blast beats, "Holocaust Global" offers more versatile songwriting and wider array of approaches while not losing what constituted his predecessor's primary strength.

KOLDKRYPT sounds quite raw but that rawness is akin to the times when BURZUM almost invented Blackgaze on "Filosofem" (just kidding) or to DJEVEL's "DØDSSANGER". It's fuzzier than razorblade sharp, and it gives Black Metal this specific bittersweet feel. I really enjoy this kind of sound and while "Holocauste Global" may not be the best example of its utilization from technical standpoint, I still think it sounds pretty good and enjoyable. The songwriting is very good. There are beautiful atmospheric moments. They are interestingly implemented experiments, and quite tasteful choice of melodies. Even the "mandatory 10-min-plus epic ending song"-cliché on this record called "Fungus" sounds so dreamy and original that the gargantuan length of nearly 16 minutes doesn't bore at all. Maybe not every song on this record is as good as the last one, but there is definitely a plethora of great musical decisions being made throughout this record's playtime.

So, I can really recommend this album to everyone who hasn't lost their hopes for one-man BM projects. It utilizes the good old Black Metal principles in a fresh way, and respects the roots, but is not afraid to go further and explore something new. There are no rookie mistakes on this record, and it sounds like it's been done by a person with experience and knowledge in the field. While there's nothing mind-blowing or revolutionary being introduced, it's still a very pleasant listen from beginning to end.