Following a collection of EPs, BEANNACHD LEIBH (formerly CRUX) returns with the band’s first full-length record. Epic, furious black metal with frequent dives into brutality and progressive experimentation, “Walking in His Works” is an album that represents the band fully coming into its own; guitar and bass now center every track, the product of a concerted effort to ground the project in more of an authentic metal identity while maintaining the lush, expressive keyboards from earlier releases. Taking inspiration from the melody-focused BLUT AUS NORD records, as well as the infinite possibility space that experimental giants such as KAYO DOT and TIME OF ORCHIDS create pure wonder in, the album prioritizes deeply felt, technically dense arrangements that constantly keep you guessing.

“Allegiance to Theia” is first, and it storms out of the gate with an aggressiveness and an energy that is unmatched. In the background, however, there are melodic elements mixing into the seasoned stew, and they are wonderful. The two competing elements work very well together, an AJM has a strong sense of supporting melody. “Can’t Love” is both shorter, and sweeter, although somber elements abound. The melodies begin to shift into the darkness, but a helping hand keeps them from the plunge. It’s a manual in contrast. “Nostalgie de la boue” shifts the tide once again, this time with dissonance accompanying the gentle melodies. They keyboard work is fantastic, and the bottom end is like a heavy anchor, threatening to pull you under the waves.

“Evolution Without Courage” ventures deeper, exploring the lowest depths of the Mariana Trench. But that saving hand is there once more, keeping you from disappearing into the blackness. “Born Grey” has gentle keys but a threat of darkness that is woven into the composition. Grey is one of those words that exists between black and white, or darkness and the light if you will. Too much of it however can really weigh a person down, and the tortured vocals do just that. “Neurotypical Atrocities” is shortest, but it breaks the concrete gate down on its way out. Heavy, chaotic tones and horrid vocals combine with gentle keyboards in a contrast that is so far apart. The title track is longest, and it begins with gentle keys that have just enough bite to draw blood. Time passes slowly at first, and your spirit feels renewed. The clean vocals sooth, but the harsh vocals invoke pain.

“In Sterquilniis Invenitur” is the final song, and again, the contrast is outstanding. Warm and fat keyboard notes draw you into the blanket, and the clown’s crooked smile drags you down. This album is a study in contrasts…a deliberate, masterful exploration of extremes that weaponizes the ferocity of black metal and tempers it with a surprising, almost defiant sense of melody. It’s a manual for how opposing forces can coexist, clash, and ultimately elevate one another. In a genre often praised for its singularity of vision, this record dares to explore the duality within. It’s a triumph of arrangement, mood, and purpose—a rare black metal release that demands as much reflection as it does surrender.