Each song is immensely dark and aggressive, topped off with a blackened contrast between the sharp tremolo riffing and the thundering tone of the drums. “Carmen ad Noctem” captures the endless fuzziness of the guitar through haunting soundscapes delivered by devilish vocals. As a result, the acerbity of the old-school influence would please the black metal fans.

The riffs are ramped up to extreme heaviness, are reminiscent of Norwegian black metal bands like Burzum and early Darkthrone albums. The hammering drums on “Occhio Ardente, Dio Del Caos” enhance the aggression from the beginning of this track. The main riff changes over the fast tempos, the focus shifts to create atmosphere with the use of the rhythm section in the slower paces.

The brooding sense of darkness fills the flow of the music; the song structure is regarded as its monochromatic composition, foraging into unearthly infernal atmosphere on “Mors Triumphans”. The fuzz of the tremolo-picked riffs creates most of the hooks on the album; the blast beats are utilized, when necessary, but they do deliver plenty of fast moments.

The chilling cold chants are standout here, as they remind me of Attila Csihar (Mayhem). The manifestation of unholy black metal is showcased throughout the album with no frills; even the synths are used to create a dreary backdrop in some passages.

The classic brand of Norwegian black metal here evokes the style of Gorgoroth, Aura Noir, Darkthrone, and Dødheimsgard’s early albums. The songwriting presents its purest form, despite the tremolo riffs being repetitive; this somehow creates a menacing and cold soundscape. The drums are excellent and maintain solid aggression through fast-paced tempos, while the synth adds a chilling and spooky feel at the beginning of “Un Angelo Nero”.

The shrieks are arranged with absolute lo-fi rawness, and undeniably Tenebrae In Perpetuum hits the mark and peaks on classic aggression, and this is something we don’t get to hear quite often today. The eerie soundscapes of the guitars are the main hook in the album; even the bass guitar is present in this dark mix. The drumming emphasizes blast beats and pummels your ears with double kick drums, and the atmospheric synth is meticulously layered through the sharp tremolo riffing.

“Inverno, è Stato” and “Sole di Tenebra” are fast and dynamic; the guitars embody a grim black metal sound that emanates Venomous hate. The atmosphere in each track has a structural variation that emphasizes the coldness of the tremolo picking. The songs aren’t complex, nor technical; the music is raw and grim. The latter track develops into a melancholy of total doom. The tremolo patterning erupts like a swarm of bats, flowing rhythm and humming bass, and the crashing speed of the drums is the primal hook of this song.

The final track “Vacuum Coeli” is eight minutes long. Begins slowly with the trudging drums, and hypnotic guitar with the mid-paced drumming pummeling blackened aggression to your face.

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