EORONT is a Russian atmospheric black metal band, who formed in 2012.  "The Gods Have No Home," is their third full length album; they also have a demo and one EP. "The Gods Have No Home," is a very well composed atmospheric black metal album.  Over the course of its six track, forty nine minute run time is a very well paced, cohesive, and natural journey.  With the exception of one song, the lyrics are actually poems from Russian poet Max Voloshin.  Foltath's vocals are searing and perfect for this style but he can't be understood without a lyrics sheet so that might not matter to some people but I thought it was rather interesting.

So many bands include an intro track before the rest of the album beings-more often than not, the intro is pointless and a waste of time.  This album, however, doesn't go that route.  The first minute or so of "The Forlorn Land" could be considered an intro, sure, but as I previously mentioned, it goes so well with the rest of the song.  At around fifty three seconds, tremolo riffs, fast paced drums, and blackened shrieks light up the musical landscape with what seems to be typical black metal flair.  But the flow is so smooth that the "sameness" in places can be quickly forgiven.  Around the halfway mark, the band sheds their skin to reveal their ability to be more methodical than "insert random underground black metal band here* with a focus on memorable riffs and drums that boost the atmosphere while complimenting the song.  A flurry of violin peppers the track with a smart, classical element that gives an angle of enlightenment to the darkness.  The violin isn't uncommon in metal any longer but it was used exceptionally well here—I wish it had more of a presence e on the album.

"Wormwood," isn't quite as fast as the previous track-it focuses on mood more than being a  pummeling force.  The riffs are dense and weave incantations that are sweeping and grand, packing in moments of clarity between the bombastic double bass and hard hitting snare.  I love the more melodic riffs that mix in with acoustics and, later, flute.  Much like the violin, this album needs more flute!  It's a strong mix that swirls together but remains open and clean to the listener instead of a muddled mess.  From the scream around 5:30 all the way to the end of the song is one of the best moments on the album.  Emotions run high as the song includes acoustic passages mixed in with black metal.  The snare drum attack towards the end is nothing short of amazing and the song is beautiful in its darkness as it reaches a conclusion.

"The Hermit," has a pretty acoustic intro that betrays just how outright furious the song can be.  Even as the acoustic guitar plays on, the band (and riffs) ramp up the aggression tenfold.  The song stops briefly, with just the acoustic guitar, before a scream pierces the serene picture and the blackened fury returns once more.  The guitars switch from tremolo to melodic at the drop of the hat and it works wonders with the acoustic portions.  The drums and bass keep it hammered down throughout, never letting me forget that despite all the atmospheric leanings, this is still black metal that will cut your head off.  The halfway point of the song brings in some grand keys that push the song to even greater heights.

The next track, "The Bonfires of Times," is an instrumental song that breaks up the potential monotony.  The drums really get a chance to shine here and are consistently well represented—the song is definitely working around the drums.  It works out great because all the instruments come together for a very large sound that most bands couldn't fit into just over four minutes. Plus, the songs begins just as "The Hermit" ends so they make perfect companion pieces.

The title track is next....and wow what a fucking song this is!   It is nearly eleven minutes in length and it uses every last second to its considerable advantage. The melodic intro is really moving and I found myself listening to this first one minute and seven seconds part over and over again.  The bass slaps really well when the song explodes after the little intro.  The song is very smart with the tempo...it slows down and speeds up right where it seems to need to for maximum ebb and flow.  The clean vocals are tastefully done and fit right at home on the song.  One of the best parts of the song is the drums just turning into a barrage of riffs (yes, I said drum riffs) that rain down upon the mix of keys, electric, and acoustic guitars. It is a potent moment that encompasses everything that is great about this album.  But wait there is more!  How about the part at 6:43 with the lead guitar shimmering through the acoustics, growing in purpose until it gives away to a blanket of electric guitars that cast shadows over the musical landscape? Perfect moment!

The final track is "The Midday Herbs," and it simply crushes in the beginning.  The riffs are a very, very slow groove. The  vocals use them as the perfect vehicle, riding the song into a blissful blackened dirge, where light touches of keys outline each instrument.  Some parts of the song are very intense, perhaps the heaviest moments on the album.  But every shadow is born of light and the middle portion of the song exemplifies this.  Acoustics and keys work together to weave a glowing spell of ethereal emotion.  The drums give the passage much rising action that allows the perfect opening for the black metal electricity to return.

And there you have it...one of the year's best surprises in black metal.  I'm so amazed that even with such a year it has been that as it comes to a close, the surreal reality of good music is still here to save us.  EORONT's "The Gods Have No Home," without a doubt deserves a home in your collection.  Do not miss this one.