The composition showcases the talents of the U.S. quartet, which includes James Lewis (bass guitar), Ryan Maurmeier (drums), Carter Hicks (vocals, guitars and synth) and Colton Deem (guitars). The EP is somehow less symphonic in its scale and approach than I had hoped, instead elevating its sound into something truly melodic and sinister.

The band has been at the apex of songwriting without compromising the furious black metal elements, the guitars adding a whirling effect to the blizzard fury. The opening track ‘Poison Soul Vents’ begins with a menacing synth, making it one of the best moments on this dreary, dark track. The riffs are coherent, working in tandem with the blasting drums that offer energetic, yet catchy dynamics. The screeching vocals sound malicious and fitting to the overall atmosphere.

The symphonic sections create dark passages, backed by fierce drumming and furious tempos, and the barrages of the guitars are perfectly layered with the spellbinding and malicious vocals. The guitars on ‘Black Imperial Smoke’ offer more variety and burst like a volcanic eruption along the thundering percussion.

The instruments come together in one sonic odyssey. However, Valdrin shows no signs of weakness, thus proving its black metal core while the synth and haunting clean vocals entice us musically into the age of 90s melodic and symphonic black metal.

On ‘Ignite the Murder Shrine’ the maelstrom of intense riffing hits the mark. The EP emphasizes aggression compared to Vadrin‘s previous album. The guitar performance is top-notch and generally more frenetic than the drums, which clearly shows how the production provides extremely well-balanced songwriting.

There is a wider focus on the guitars and fast tempos. The orchestral compositions are utilized, but they are restrained; even the whirring solos and rhythm guitar sections are brought with a flair. The use of synth and the piano sounds appealing and truly menacing. It’s something that reminds me of what Dimmu Borgir did on the ‘Death Cult Armageddon’ album.

These amalgamations are focused on blackened aggression and orchestral passages that enhance the atmosphere on tracks like ‘The Muttering Derelict’. The drumming packs a powerful punch. The gripping riffs  blend variety, layered symphonic structures, and bleak atmosphere that would please fans of dark and melodic black metal.

Valdrin wastes no time with any gimmicks and especially, on the final track ‘Veins of Akasha’, perfectly mixes powerful tempos between the atmospheric black metal parts with some blistering riffing, which exemplifies how the band can cement an outstanding effort and foment a spellbinding and menacing symphony that sounds truly like them.

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