With “Countless Dawns of Blood and Iron”, Stygian Storm became a household name in the Spanish underground scene; there is more to describe their style, which takes much inspiration from early Scandinavian black metal bands such as Satyricon. The opening track, “The Last Stand”, unfolds the atmospheric direction; the synth adds a gloomy, dismal aura while the sharp tremolo riffing is backed by mournful shrieking. The cover art conjures images of a forlorn ruined castle draped in the glistening snow of the majestic mountains of Spain.

The epic compositions of each song are combined with catchy melodies at its most surreal moments. “The Scarlet Knight” brings the atmospheric quality of synth, furious drum beats, and raw fiery guitar riffs that evoke fantasy imagery. The music is quite exceptional, and I found myself wandering through synth passages, evil shrieks, and the cold riffing that surrounds the mystical atmosphere, where the duo manages to contrast the mid-tempo passages with straightforward fury.

The keyboards and tremolo pickings in “The King Who Never Dies” are layered in typical Norwegian black metal, be it the frigid aura of the synth or the raw drums; the music here speaks for itself. The galloping rhythms and the humming bass guitar maintain the dark medieval theme. Even the slow guitar chords are washed in pagan choirs, adding depth and beauty to the songs, while the guitar melodies are catchy and uplifting, exuding cold riffage.

“The Flame of Rebellion Still Burns” shows how Stygian Storm can combine aggression; the duo emphasizes scathing riffs that interplay with a semi-symphonic synth, lending a medieval tone. The songwriting provides many twists and surprises; the duo shows their expertise in creating gloomy landscapes, as in the track “Through the Ruins of a World Forgotten”, leaving the listener in solitude.

The keyboard arrangements are surrealistic, but this does not undermine the focus on the slow guitar tempos, as there are plenty of aggressive heavy riffs that contrast the synth backdrop. Icy tremolo riffs evoke solitude and let you embrace the cold atmosphere. The black metal howling and rasp give it a dark, brooding quality; at times, the songs become a bit hypnotic, but these are brief moments as the guitars strike with primitive rawness.

“Over the Chasm We Ride in Silence” is the final track, featuring clean vocals that interplay with slow guitar chords and synth, lending an emotional anchor; this is an epic way to end the album. Unfortunately, the album is only thirty minutes long, leaving you wanting more.