While firmly entrenched in the Scandinavian style of black metal since the early 90’s, now fronted by the only founding member, Azradan (guitars), who picked up the torch and recruited a new lineup augmented by Szhethil (orchestration),  Infaustus (vocals), and Dominator (drums).

Haimad’s symphonic traits are rooted in the classic second wave, which endows them with a quality of impressive caliber, thus fulfilling Azradan‘s musical vision to create an epic and majestic black metal album, offering a mystical and unforgettable experience. The overdue full-length album expands on the 2019 EP “The Return“. The seven songs are crafted from otherworldly atmospheres that embody the medieval and the fantasy lore of Tolkien’s Lord of the Rings mythic worlds.

The opening track, “When Night Rode Across the North”, begins with a fantastic synth; however, the focus on tremolo-picked riffs and raw aggression significantly offers a powerful perspective of Haimad’s epic inspirations. The symphonic keyboards sweep by an avalanche of raging blast beats, with choirs in the background and cold icy tremolos accompanied by grim snarls.

There is a fabulous array of aesthetics to 90s Swedish symphonic and melodic black metal, similar to bands like Ishtar and Misteltein. The music also draws inspiration from Norwegian symphonic black metal bands such as Emperor, Limbonic Art, and Obtained Enslavement. The blazing tremolo riffing and intricate arrangements of orchestration showcase the mastery of layering a dark sense of atmosphere in the next song, “Nen Cenedril”.

The album art depicting an ancient tower, colossal mountains, and dragons soaring across the northern hemisphere fits perfectly and gives it a triumphant feel. While striding into the realms of fantasy, the composition is centered by its bewitching emphasis on permeated orchestration and dungeon synth themes that broaden the musical textures.

What makes this full-length album wonderful is that Haimad has a unique grasp on songwriting and hook-laden tremolo riffs blazing over ferocious percussion. The melodies and symphonic sound contrasts with the thundering blast beats, making it perfect for fantasy game scenes, and they are grandiosely utilized on “Where Serpents Wait in Withering Ruins”, clearly showcasing furious blast beats with majestic orchestral passages, adding depth and rich textures to the song structures.

The mid-paced riffs are catchy, particularly when the drums become slower; the haunting synth, along with the power chords, dominates the grim black metal rasps. The rapid tremolo transitions recall Swedish black metal bands such as Dissection and Setherial, and there are moments where the synths are masterfully layered. The listener is captured by dark malice and images of ancient castles and frostbitten landscapes. Each song features epic guitar sections complemented by powerful drums.

“Naur” lets you envision the magnificent scale of composition, with its catchy cold strings and beautiful orchestration filled with regal choirs, of a truly captivating profundity, from the malicious rasping to the grim evocative atmospheres unfolding. Powerful guitars and richly textured cinematic passages, the tremolos then fire on a barrage like a smoldering fire coalescing with tumultuous percussion in “Voice of the Dread Abomination”.

The fierce drumming reaches its pinnacle, and the density of the sound that pervades this song resembles a battlefield. The song craft is full of mysterious dungeon synth elements and themes of mystical darkness, which duel with beautiful, clean guitar passages. The musicianship deserves praise for the marvelous work of art, especially the symphonic themes featured in this song.

“Of Smokeless Fire and Smouldering Ash” offers depth and fantasy, like mystique provides a sense of melodicism and atmosphere to this somber, wintry song. The battering drumming gives it a powerful edge, and there are excellent fills, double bass showcasing a perfect backing to the melodic riffs that stride through various tempos, balancing the song with medieval choirs.

“The Key To The First and Final Day” is the final track, which varies from ambient dungeon synth to grim melancholy. The black metal intensity magnifies with staggering heaviness, where its riffs are drenched in melancholy and darkness. The whole spectrum delivers symphonic-driven synth and interwoven tremolo structures, highlighting the musical brilliance.

The approach of the black metal rasps fits the song perfectly, even the orchestral passages, riffs, and melodies reflecting the compositional and bombastic mix of elements are all masterfully integrated.

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