The buds blossomed overnight, and in the morning the villagers deiced to roam about in the flowered streets. It was before seven, but the peoples' dreariness faded away as a pinkish, red glaze spread across their faces. THY DYING LIGHT's self-entitled album, "Thy Dying Light," is a curation of raw and atmospheric black metal sounds, uniquely bred to the ear's delight. The project was formed in 2016, and are from England. They have put out several EPs and compilation albums, with this newest release being their first full length album. It is quite reminiscent of Icelandic black metal, with its low and magnificent sounds. The pathway through the album is dimly lit, but the path is wide enough to follow. Songs are strung together by similar threads, making it seem as though notes have been heard before, but in a varied format. The music is pleasurable and dignified.

"Under The Horns" initiates the ceremony with a euphonious accent. Tremolo picking becomes steady, and drums resound in the background. The breakdown is filled with low base tones, drawn out with a type of unclassified noise. The lows of the wonderous melody are in conversation with the highs of the guitars. "Cold In Death" starts with a rememberable harmony. Gradually, the song gets a quicker pace in its guitar parts. There are a few layers within the piece, hidden by the overall demeanor of the song. A voice is harsh, but does not take away from the instrumentals. Its constants resembles a heartbeat, as it battles the double kick of the drums. A chorus of instruments fade. The villagers pick the roses from its roots and carry them indoors to place in glass jars. Roses ruminate like a slight breeze, as their trace is left by ripened petals. Each night, roses would decay and turn black. The beatific smell would become thick and obscene, leaving the villagers to throw out the withered beings.

"Impaler" is quite lower than the previous tracks, with the drum pattern and the voice guiding the piece. The breakdowns in the piece make the track more whole, and a bit bouncy as it tries out different wavelengths and pitches. It is off-beat for effect, and perfectly done so. The song has quite a few riff fillers that are not impressive, but standard for the genre. "Black Death" begins with a more punk or alternative drum pattern. Its breakdowns are silenced, tremolo picking of guitars. Higher notes resound off the low harmonious bass tones. Similar notes are heard from the previous song, a style the project often puts through its songs as connectors. One by one, the roses disappeared, and all that remained were the green stumps of last night's blossom. But the villagers knew that, like clockwork, the roses would reappear the next day as they regenerate, and the cycle would repeat. Perhaps, it is not normal rose-like behavior, but for those in the hillside town, it is. "The Rise Of Evil" also exhibits similar rhythms as other previous songs. Notes breakdown, and the piece often resorts to a ritualistic vigor. Classical, higher, black metal notes are heard in the stanzas. Marvelous sounds are heard at the end, but are abruptly cut off.

"Ritual Altar" is repetitive of the last few ideas, with the addition of very powerful notes. Bass notes resonate and dominate the language. Drums keep the pace, as a middle eastern melody flows through the guitars. There are frequented ups and downs of the piece as the demeanor changes. The song speeds up as it nears the end. As the song fades in harmony, the villagers retire for the night. What they fail to remember is that the world hasn't rained there in days, and what they fail to know is that their rain, their special phenomenon-like rain, has kept the roses blooming in their strange regeneration. And so, this night would be the night that black falls upon the houses of small village. "Fist Of Satan" is a melancholic blend of sonance. The drums make the song enthusiastic, while the guitars and bass slow the track down. It is quite remarkable. With each layer added, the track does not forget about the dullness it left behind earlier, swallowing the rhythm, adjusting to the scenery of intangible. "Temple Of Flesh" carries through the exquisiteness into a new format of a celestial realm. Notes are a bit scratchy and unreliable, making the track moveable. It fades out in tremolo picking. The next morning, the villagers awaken to finding their precious, pink, flowers crumble to the ground like dust. The folks could not breathe, for the air was filled with a dense charcoal that was left from the flowers, that made their faces dark, and their throats sore. Someone thought to water the flowers, water the air down for that matter, but nothing seemed to work. It was almost unbearable. "Thy Dying Light" mimics very familiar patterns as earlier in the album. Drums seem off beat. The song uses almost the same melody and tone as other works, making it a little less unique. Nevertheless, its tune changes creates majestic-like views, with harmonious breakdowns. The piece ends with a ritualistic discussion. A whispering folklore lays the work to rest. "Death Knell" is quite atmospheric, and my wonder is that it does not fit with the other parts of the album. Nevertheless, it a strong, synth-like ending. It sounds like wind through empty spaces, with echoed guitars. An eerie feeling is left with the closing of the piece. A whisper tells of solace. The villagers reside in the mud of dust, and wait for the sun to set, for this would be a new life to who breathes on the morrow.

THY DYING LIGHT's "Thy Dying Light" is an ethereal creation of wonderous melodies, carefully crafted and portrayed. Through repetition, familiar sounds are remembered with such a vivid viscosity. Although some were not that differentiated, which would be my critique, it was still made with a unified idea. The ending track was mysterious, but did not fit at all with the previous, and thus, should be considered on its own.