ILLT is the alter ego of Norwegian composer and guitarist Roy Westad. It's an uncompromising sandbox and a culmination of decades of passion and love for extreme metal as an art form. ILLT states: "I have a pretty schizophrenic musical taste, I'm quickly bored, and I hate rules and boundaries. This album was written by pure instinct on my own terms, and the result is a genre-defying and emotional ride through intense riff-based metal." The lyrical themes are centered around anger, hopelessness and contempt for the human race, and deal with the darkest sides of religion, politics and de-evolution. The album contains six tracks.

"Millennial Judas" leads us off. The opening riffs are dark and powerful, and the background screams are indicative of the themes mentioned in the bio statement about the album. The music is not static, but ever-moving with shifty changes. Speed's vocals are intense as are the drums. This song is full of rage. "Sons of the Northern Lights" opens with more intensity from all the instruments as well as the vocals. I even hear some Black Metal elements here. Shifting gears, another riff appears before the half-way mark, but the transitions are somewhat harsh.  Following the half-way mark, the sound drops for just a spell, before returning with renewed fervor until the end.

"Scythian King" is a shorter song bit with no less in the punch market. Big blows land on your head over and over, unrelenting. The guitar solo sounds to me like Kerry King type playing...let's see how many notes we can fit there. "Blood of the Unbeliever" begins with double time drums, bass, and guitars, pushing more of that punishing sound. It burns with a fire so lit, it will never be extinguished, like rocket fuel on fire. I appreciate the short-lived ambient moments. "Every Tree a Gallow" brings more heat to the table, so much that you nearly choke on it. There are some more melodic moments in the song, but again, short lived. "The End of all Things" closes the album. It is much like the rest of the album...speedy, punishing, and with another cringy guitar solo.

How many riffs can they pack into one song before it begins to fall apart? They definitely flirt with that line here. At times as a listener, you are able to pretty easily follow the riffs as they transition from one to another, but at other times it is fairly difficult to illuminate the path they are trying to light. Intensity for intensity's sake it seems to me, at the loss of some of the other elements which can often highlight the genre here. I give the band credit for their vision, but it's just too one-dimensional for me.