British black metal titans WINTERFYLLETH are set to unleash their highly anticipated eighth album, “The Imperious Horizon,” on September 13th. This release promises to be one of the darkest and most captivating records of 2024, featuring nine intense, atmospheric tracks that showcase the band's evolving sound. With guest vocals from AA Nemtheanga and production by the legendary Chris Fielding, “The Imperious Horizon” is poised to be an essential addition to any black metal fan's collection.” The album has nine songs.

“First Light” is the aptly titled leading song, as it sets the tone for the madness to come. It’s a short instrumental that features a luscious layer of keys and other orchestral sounds, leading to “Like Brimming Fire.” The sound is thick and contentious, and also somber. The harsh vocals se the tone in the song, delivered with energy and passion. There are also just enough symphonic sounds to support the song but not take it over, and all of these elements come together nicely in the end. “Upon This Shore” has a similar sound and pace, and the way the band melds various sounds together into their synergy speaks volumes for what they are able to accomplish. The level of anger matches the level of hopelessness.

“The Imperious Horizon” has a similar sound, and although it is aptly thickened and strong with backing elements, the band needs to push out of the familiar and head into uncharted territory. Still, those riffs are nasty as hell, and the leads cry out. “In Silent Grace” begins with a steady dose of despair from the clean guitars, and it segues into distortion that keeps the level of anguish in the clouds. The clean vocals are absolutely gut-wrenching and dripping with the torture of regret. This is what I am talking about when I say the band needs to explore more of the path untaken. “To the Edge of Tyranny” bites with deep fangs and a good deal of pain. The riffs are as thick as a hearty stew, and there are plenty of backing elements.

“Earthen Sorrows” is a clean guitar instrumental, with string backing. The mood is very somber as the title suggests, and it soaks in slowly. “The Insurrection” closes the album, and it is foul with the blackness of the realm that exists deep beneath us. One of the things that the album does best is turn on the anger, as well as turn the despair up to 11, and this song is reflective of that. The mix of instruments on the album was nearly perfect, pairing guitars with keyboards and others. There was a familiar sound here, but also one that forced you out of your comfort zone a bit. More of the latter would have been welcomed, but it is still and excellent album done at the hands of experienced musicians.