Formed in 2016, MO'YNOQ are something of an anomaly in the Raleigh, NC music scene.  While NC bands such as CORROSION OF CONFORMITY, WEEDEATER, and ASG have shined a light on the music scene of the tar heel state, the scene is clearly not overpopulated with the dark side of the genre.  Enter MO'YNOQ.  Though just two years old, the band has managed to craft a distinct brand of Black Metal helping them to gain some high-profile slots opening for nationals.  Earlier this year, I was fortunate enough to see them open for PILLORIAN, and was surprised by the tenacity evidenced by their stage performance.  Theirs is a thick sound, enhanced by textural layering of riffs and rhythms.

The first song, "Empyreal Decay," erupts with visceral screams and a relentless barrage of riffs and rhythms, an ideal opener.  Before long, one is overwhelmed by the cacophony.  There is, however, a marked atmosphere conjured forth that will be revised and retooled throughout the recording.  First impressions are of a Post Metal-influenced act indulging in violence and the arcane.  Thankfully, this is devoid of overused pretty parts and melodic fluff which tend to water down the genre.  When the band shifts gears into more musical parts, it is with earnest intentions for the betterment of the song rather than pimping their own tunes out.

"Carve My Name," the fifth track, is an atmospheric departure.  Beginning with a sound not far off from that used in classic Spaghetti Westerns, when the distortion kicks in, the larger idea is realized.  With driving blast beats, each guitar is panned to one side allowing the listener to witness the difference in parts that equate to the massive whole.  There is a cavalcade of emotive ideas driving the song accented by bombastic cymbal crashes.  The magic is created by the differing ideas performed that aid the greater whole.  The final track, "Buried By Regret," is a fitting ending to the proceedings.  Of note in particular, is the movement of the bass underneath the guitar work as it mimics large instruments of artillery in war.  At some points, this is the most overtly Black Metal the album has sounded.  In the latter half of the song, a solemn if not dreary tone is delivered with the aid of nuanced lead guitar work.  The final moments give a nod to the Blackgaze movement with the poignant passages that are indulged in for just one minute, yet another left turn in an album rich in diversity.

This is ultimately intelligently-crafted, cerebral Black Metal.  The band have managed to create a challenging monument to their vision.  With a sound so overpowering that it can both suffocate and embrace, it is clear they are aided by the contrasts.  It is this use of dynamics, melody versus dissonance, blasting versus straight-forward rhythms and more that propel the album to its lasting success.  It is with true anticipation that I await their next move.