From Bandcamp, “SMOHALLA's avant-garde black metal is overwhelming, rich in nuances, tempo shifts, and atmospherics. The arrangements are extremely layered; the structures, complex yet consistently coherent, serve a songwriting that masterfully interweaves epic dark melodies, nocturnal ambient/electronic interludes, and unstoppable explosions of metal violence, while Slo's vocal performance alternates between beastly screams and dreamy vocalizations. The cosmic and hypnotic grandeur of "Ruina Draconis" is a religious experience that revives the great avant-black tradition of masters ARCTURUS and VED BUENS ENDE, to which SMOHALLA have nothing to envy.”

The album has eight songs, and “Ecclesia Obsessa” is first, and it’s aggressive, chaotic, and weighted. The harsh vocals play with the music perfectly, because it’s an angry sound, but it is also nuanced with melody at times. Eerie keyboard notes mix in as well, and this isn’t your dad’s Black Metal. “Varon” is another strange song. In addition to traditional Black Metal elements, the band uses a variety of other techniques in the seasoning blend. At first, some of them seem competitive, but they always come together. Trying to find a consistent meter in this song is like looking for a needle in a haystack however. They blend in more keyboards to give it a smoother sound at times, and I have never been taken on such a varied journey.

“Et Mortui Iudicabuntur” hears the trend of strange continue, but let me be clear, it’s fascinating so far, because you never know what’s around the corner. This is a smooth, gentle, dark, and mysterious sound, coming mostly from keyboards. “Cantica Servi Sufferentis” sounds like torture personified for me, and you can hear that clearly from the vocals. The music, although weighted, is quite melodious, and the combination of the two makes for an outer world listening experience for me. The hefty dose of keyboards help to mellow out the song a bit, but the torture cannot be contained. “Deimos Sepultus” is shorter, and also, much more aggressive and chaotic. It settles eventually, into an intricate pattern of riffing together with keyboards, and even some trumpet.

“In Stagno Ignis Serpens Antiquus” has a smooth but tense opening sequence. The vocals are whispered at first, with backing keyboards. It begins to build, with dark layers, until the darkness spreads like a black disease, covering everything. Rounding the halfway mark, it makes a retreat, to calm skies and seas, and then the darkness returns, blacker than ever. “Homunculus” is more about the effective use of atmosphere. The drums bounce heavily, but the vocals and organ notes are somewhat gentle. Still, the song is tense, and dark. “Paraclet” is the final offering, and it’s a break from some of the earlier chaos. The sound pulses in and out of your ears, almost like an echo that won’t stop, and it’s gentle and smooth once again.

The album takes full advantage of everything that modern day Black Metal can offer fans, and then some. It is indeed layers, nuanced, and complicated at times, but the familiar ring of keyboard notes help to keep it accessible. The musicians, are fantastic, as is their adventurous sense of songwriting. This is an album that smartly takes a few listens to fully explore, and even then, there is more waiting to be discovered.