I always enjoy a new encounter with the work from Inferno. Both 2013’s Omniabsence Filled by His Greatness and 2017’s Gnosis Kardias (of Transcension and Involution) were enjoyable and satisfying examples of sophisticated black metal art. Continue reading “Inferno – Paradeigma (Phosphenes of Aphotic Eternity) (Review)”
The last time we encountered Inferno it was on their previous album – Omniabsence Filled by His Greatness. This album made a very good impression on me and it’s one I’ve listened to many times over the years. Continue reading “Inferno – Gnosis Kardias (of Transcension and Involution) (Review)”
An enjoyable album that takes the Swedish Black Metal template and injects more of an eerie melodicism into it. After listening to this album I’m convinced this is an area worthy of exploration and Inferno have made a good start.
Inferno write long songs filled with dark praises and incantations to forgotten powers. The drums may spend a lot of their time going at full speed, but the guitars don’t always follow suit, creating a juxtaposition that probably shouldn’t work as well as it does.
In amongst the aggression and hatred on display in these songs there is a feeling of sorrow, of something lost or perhaps never had. This is chiefly displayed in the mournful guitar melodies and plaintive tones explored by them.
The vocals are low in the mix and combine the epitome of brutal Black Metal rasping with deeper, darker vocalisations. They play their part alongside the subtle keyboards and effects to enhance the overall feeling of the aforementioned juxtaposition between melody and brutality; light and dark; beauty and terror.
Fans of Black Metal can’t go too wrong here – give Inferno a listen and let the fires wash over you.