Metal maniacs, rejoice! I am proud to present to you: CIRKELIN; signed via Naturmacht Productions, hailing from Swedish grounds - performing Melodic Black Metal, on their Full-Length Studio Album entitled: "Kingdoms That No One Remembers" (released June 25th, 2020).

Since formation in 2019; the soloist in question has a Demo entitled: "CirkelIn" (released September 18th, 2019), a Single entitled: "Frozen Dreams" (released December 21st, 2019), an EP entitled: "Stormlander" (released February 14th, 2020) and this here debut album that I am introduced to entitled: "Kingdoms That No One Remembers". 10 tracks ranging at around 54:32; CIRKELIN arrange an intricately designed formula of some heavy-hitting Melodic Black Metal developments.

This one-man project marvellously transistion a healthy dose of musical varieties from Black, Doom and a hint of Classic Heavy Metal splendours...telling epic but archaic tales of magic, dungeons and folklore fantasy themes that one would question if these sub-genres match Melodic Black Metal? And you would be right, oh hell yes it does. It may seem weird at first but one cannot help but think of these genres as either a Power Metal tradition or just total ruination, and destructive havoc of the possessive kind to the eardrums of hell (Black Metal). Entering CIRKELIN; who takes all aforementioned genres, brews them with one but brilliantly generous serving of some cathartic Black Metal transformation that evolves into an embellishing experimentation of refined, complex and distinctively distinguished characteristics that will keep you distracted in no time.

Opening up the record with this majestifying spoken word ritual "In His Deep Hidden Hall"; CIRKELIN demonstate a blistering barraged frenzy of some rawly rough symphonic yet melodic Black Metal manifestations. Materialised with this thunderous profanity of blasphemous adrenaline, distorted but amplified haste and boisterously bouncy calamites that revel with quintessential virtuosity while rumbling with reverberating triggering that speeds with volatile velocity while ramified with riveting grooves that execute a borderline foundation of some uniquely versatile vehemence juxtaposed with a gnarly element of monstrously meaty riffs that soar with momentously primitive skill.

Consisting of Våndarr who performs on all instruments and vocals; the frontman excels  at a deadly aesthetic of throaty raspiness with shouty yells that showcase these pipes that distil a high-pitched scream of tormenting anguish, his lungs implement blood-curdling aggression that roar with savage retribution. "Golden Rauros" opens up with this Gothic landscape while eeriely forging a medievil of sorts atmosphere; crafting a solid slab of some sinister rebellion, the guitars create a concrete dynamic of some dextrous heat, trailblazing with skyrocketing remedy & this potently vibrant quirk of snappy nimbleness with rapidly swift substance while remaining tightly organic with some progressively technical rips that surge of some sonically seamless crunchiness as well. The rhythmic precision is an enriching attribute here for an artist of this calibur; brimming a gripping hook of ominously relentless synergetic patterns that flow into a blast-beating grind, immersing a hybrid dimension of profusely robust pandemonium & this ruthless quake of stampeding punishments that will keep you mesmerised with the majestic yet mellifluous outrè of panach that's offered here.

"Sun And Moon" salubriously orchestrates this other-worldly view on wildly rushing yet razor-sharp mayhem; injecting an audibly infectious bass pummelling that thumps with galloping frolicks, chugging maelstroms & this mandatory yet flexible fundamental in which merges this hypnotising hymn of harmonic but cinematic chaos...depicting this sort of religious songwriting musicianship that will slay while staying killer but prodegiously satanic for all evil empowering incentives. Drumming into a hammering but battering devilment of slamming, cymbal crushing stomps that rambunctiously piledrive with rompy pounds while tempestuously storming with this rampent whirlwind of pleasing yet meticulous stability. The melodic in Black Metal here is undoubtably profound, while the chords assemble a fierce firepower of oomph & refreshing yet originally operatic droniness in which rampages with foreboding but euphonic chunkiness.

"Ships" reminds me of a Viking quest; sailing the seas in hopes of treasure, quests and animalistic battle of domination and triumph that stamps their landmark as they conquer the territory for their own, the musical shine is an upbeat overarch of the oozing slime of merciless yet spellbinding concepts. As both this one and "The Castle" wonderously puts together this uproarious story of subjugation, loss & hope with this cinematic approach at the beginning. Fighting until the end to gain utmost victory! The imagination here is astounding, intense and engaging. Filling a boundary of thrilling fretworks, constructively combustible finesse and a detailed diligence of frantic but elegantly furocious expertise that prevails with massive style which will unleash an air-guitar bombardment in no time. There are a lot of doomy but haunting guitars within these songs, they flicker impressively with this bizarro flair of joint heavy metal brilliance in which continues to carry on throughout the record, supplying this nice mischellany that's refreshingly rewarding.

Advancing into "Sing Of Frozen Dreams"; another lingering monolith of weighty yet pulsating results, and dreamy but glorious heft of oscilliating machinery... CIRKLIN harnesses a blackened formulaic while revolving those chunky abilities in diversity and integral density. A spiritual song that keeps the uplifting granduer in full force, demanding you to raise the horns as you walk on in forestry lands...or wherever! "The Eye; The Throne; The Ring" captures the conquering conquests of witchcraft wizardry, myths & untold truths...after a lacerating but angelic clash of slashing extremity ensues. Instrumentally generating a hellish armanent that strums with addictive heaviness with this polished fluidity in which swamps speakers with these sulphurous tempos while unearthing an embodying flair of soulflying rifts that pursuits with stunning requisitions, and a professional perseverence of this persisting repertoire of licks in which make you just want more & more.

"The Dreaming City" strangely resembles this hinting but classic heavy metal traditional riff that reminds me of ACCEPT mastermind Wolf Hoffman's signature trademark style; which just provides more ominium gatherums of sort yet when I heard it, the sound most efficaciously overtook me with enchanting admiration. While the penultimate track "Ainulindalë - Of The Music Of The Ainur (Interlude)" is a breif interlude of more slick performances that shroud this sludgy segment of strong but strikingly sublime magnificance of momumental sophistication, and an acute aptitude of symphonic terror.

Overall concluding "Kingdoms That No One Remembers" with the titular track itself; I am compelled to say that CIRKELIN was most certainly an intriguing discovery, while on the lengthy side; I still had a blast replaying this one there is a lot of value there if you love these sub-genres in place. And for a soloist; Mr. Våndarr definitely delivered an excellent establishment representing this well done form of all things metal that maniacs alike can surely relish in. Bravo sir, bravo! Do check it out, it is most worthy of a few spins!