SAARKOTH is an English black metal band who formed in 2016.  "Cult of Nature," is their second full length album.  They have also released a demo and an EP.  I actually reviewed their full length debut "Jera" two years ago and gave it high marks.  How does their latest album hold up?  It is just as good, and sometimes even better than "Jera." "Cult of Nature" is a high mark for anything black metal related this year—an engrossing and immensely satisfying album.

Like their previous efforts, their overall sound is definitely raw but also very melodic.  Atmospheric, epic, expansive...all these words could be used to describe their ongoing journey presented here across these eight tracks and one hour run time.  I'm a stickler for an album's length too because you can definitely wear out your welcome.  Some genres, such as prog and doom, naturally lend themselves to long album's but for most of the others...say what you want to say and get out.  With that being said, this album's pacing is incredible.  "Cult Of Nature," definitely doesn't feel an hour long—it is consistently engrossing with plenty to discover.

There is a superb folk feel running throughout the songs.  SAARKOTH really don't lend themselves to actually sounding like a folk band but what I mean is a lot of the melodies and harmonies really bring out the meanings of nature the band is trying to convey.  This album can be as cold as the deepest winter, warm as summer, or evenly balanced like a crisp autumn morning. The production has improved from their past efforts as well; this album really nails the raw aspect of black metal while making it enjoyable and coherent to listen to.

The album opens with "Never The End," which grows its clean guitar notes into a captivating lead melody that in turn morphs the song into an audio landscape.  A furious blackened scream pierces through the serene nature and boisterous drums hammer in the blackened elements.  The next few minutes are powerful black metal, as intense as anything else I've heard from the genre this year.  The way the band melds all their soundscapes together is truly special.

"Rains Over A Dying World," is my favorite song on the album.  At times the song is just eviscerating. From 2:22 to 5:15 sounds like the wrath of nature itself, some sort of world devastation to bring us all to our ends.  Afterwards, the song becomes quite a bit more sullen yet introspective with a beautiful clean passage followed by an even more moving guitar solo. "The Great Filter," is impressive immediately with a nice melody that grows into a kick ass guitar solo. The guitar riffs are not only among the album's best but are down right menacing. The vocals are very engaging, especially when they get lower pitched which is something I wished more black metal bands would do.

"Burn The Forest Down," continues the more riff focused direction but throws in a little groove.  The chanting behind the blackened shrieks makes them all the more imposing and adds some arcane flair to it all.  Around the 3:05 mark the songs gets subtle moments of melody injected, outlining the song with some good ol cold, blackened riffs. From that passage forward the band nails this sweet spot where it all comes together. , A clean passage injects itself briefly for a clever respite before hammering it out to the end.

"Sanctuaries of Oak," is a violent whirlwind of drums, riffs, and blackened screams/growls, all at ramming speed.  The tempo slows to let more personal style riffs and leads shine through but those badass vocals keep it firmly grounded in black metal roots.  The song's halfway point is of ancient and ominous tones/sounds that show off a different side of the band while still maintaining cohesive themes. From 3:45 onward is a storm of double bass, insane vocals and guitars that will make your head bang even if you don't want to. This an endearing aspect of "Cult of Nature," it's ability to still stay laser focused on the best, heavier elements of black metal while still retaining a keen balance of melody and atmosphere.

"Praying to Man," begins a bit more traditional, in a black metal sense. SAARKOTH take this sound and back it their own. More atmospheric pieces mingle with the darker passages for a song that feels expansive, even beyond its decent run time. A pain filled screams gives way to oblivion at the 3:48 for a lush melodic passage of enticing clean guitar and drums that compliment the whole package. Moments like this show why this band is so far ahead of many in the genre.

"May Winter Bury The April Flowers," is such a goddamn great song. It is rather arresting, bringing about a certain brand of intensity that is infectious. The later half of the song is cinematic and theatrical, a show of strength that proves how much black metal has grown since its inception. Those little hints of playful keys really tie It all together. "Questions For The Heavens," is the final track and ends the album on a large scale tour de force.  Out of all the songs, this one is the most tortured and there is an near overwhelming layer of sorrow that blankets the track. The melodies work in tandem with the vocals for a double edge sword that keeps the melancholy still raw and powerful.

Ultimately SAARKOTH's "Cult of Nature," is a fine example of the power and emotion behind black metal, a genre that many dismiss as the music of lunatics and haters.  On the contrary, this album shows how depth and being outside the box and work in the genre's favor.