The album begins with a short intro, ‘The Hidden Veil of Sacrament’, which showcases the trademark ornate mysticism and symphonic art aesthetics through the music, lending a mesmerizing experience. The melody in these songs is rooted in the ancient art of black metal, since the majority of the guitars incorporate tremolo-picked riffs.

There is a dark manifestation of brooding orchestration in the song ‘Abandoned by the Light’, which portrays the symphonic influences of Limbonic Art and Obtained Enslavement. The album manages to present awe-inspiring orchestration with ferocious drumming whilst maintaining the raw characteristic of the second wave of black metal.

In its finest compositional arrangements the music swells to an alluring melody, all textured with complexity and saturation of synthesizers to create a sense of beauty on ‘The Kingdom of Evil’. The songwriting level on the third opus elevates the music to the quality of other side projects conveyed by  Gardsghastr and Secrets. The music always adds a distinctive twist to the mid-tempo with contrasting mournful screeches and dark, grim riffs.

The elements combine so many aspects of melodic and symphonic black metal, and it’s impossible to neglect the work of mastery and the beauty that the music captures on’The Black Prince’. The epic dark fantasy of ‘Through the Veil of Medieval Prophecies’ cast a melodious and atmospheric spell, whether the songs soar majestically between a grim suffusion or through a vehemence of tremolo-picked riffs.

The drumming is varied, the blast beats thunder like a Nordic storm. The music swells with a beautiful and dark orchestration in the short intermezzo “Hymn of the Blood Cult”. However, there are a couple of non-tremolo riffs that create a contrasting element to the soaring orchestration. While the mournful screeches echo with drums providing blast beats; the icy riffs soar to the roaring grief in the song ‘Under the Banner of Behemoth’.

All of this otherworldly music has a medieval feel. Muvitium explores these misty themes and captures the feeling of being in a dark realm while still maintaining a raw and icy black metal sentiment. Every instrument is perfectly audible, and there are many standout songs like ‘Armies of the Night’, which begins with a spellbinding symphony that takes a leading role. The furious drums and cold, tremolo-riffage add more dimensions to the grim, hateful vocals.

‘Through the Veil of Medieval Prophecies’ is not only symphonic and atmospheric, but also showcases the talent and the tremolo composition of the guitars, focusing on counterpoint melodies. Rhythmically, the songs are not played rapidly, but many fast-paced tempos provide a wall of sound. The atmospheric qualities have a typical black metal sound of the 90s, but they also carry the blueprints of Swartadauþuz if you are familiar with his other side projects. The album presents the mastery of Swartadauþuz (guitars, keyboards), Besvärjelse (vocals) with session members Sortilege (bass) and Spillror (drums).

Symphonic qualities are exploited to a greater extent, and almost all black metal riffs in the closing track ‘The Doomsday Battle’ brim with dark atmosphere. The guitar follows the thundering beat of the drums. There are moments when the percussion provides a slow cadence to create spaciousness in the musical landscape, and the cold flowing riffs dominate the pace of this grand closure.

The synth and bass guitar add beauty to the song structures, thus Muvitium represents its malicious and epic symphonic black metal with a rich melodic content that perfectly aligns with the 90s black metal.