“Heavenly Down” bridges the gap between the 2018 album “Letters from the Edge” and brings an enthralling listening experience to fans of symphonic and atmospheric black metal; capturing the essence of the 90s era that blends majestic soundscapes and dreamy ethereal synth. The current lineup includes Márton Kertész (guitar), Zoltán Pál (trombone, backing vocals), Gyula Csejtey (drums) and Zoltán Vigh (guitars). Before commencing the contents of the new album, one can notice the album’s cover which invokes a similar aspect of Sear Bliss’ classic illustration.

The ethereal aura of the soaring synth in the opening track “Infinite Grey” is all frontal and backed by tremolos-picked riffs; deep bass and crashing drums deliver a menacing mood. The atmosphere cannot be described as Sear Bliss provides space for the drums and the blazing guitars come along wonderfully. The synthesizer builds a beautiful passage for the trombone, leading the way for the guitar melodies to create epic moments.

Given the tremolo-picked riffs and the blast beats proportional share there’s a balance of faster-paced tempo and aggression these subtle touches of the electronic percussion in the following song “Watershed” are beautifully garnished with ethereal textures. Sear Bliss aptly presents its sonic art drawing inspiration from the dusty ages of the second wave of black metal, the album brings back memories of the past albums in a most breathless passionate spirit.

Tracks like “The Upper World” prove these Hungarians are masters of atmospheric, mystical black metal style. The track starts sounding aggressive but later on it gets more melodic and atmospheric with the trombone painting majestic landscapes; the guitar arrangement is cunningly arranged in interwoven layers of bass guitar and the wafting synth adding a touch of magic suiting the palate of likes of Summoning.

The album brings many epic moments that plunge the listener into a contemplative mood; the drums and the chugging riffs attain a scale that could fairly be described as memorable and catchy. The composition verges on the classic works of these shrewd musicians who invoke emotions and grandeur; the raspy vocals are thrilling the atmospheric quality remains outstanding and pushes songs like “Heavenly Down” to the ethereal realm.

The riffs poignantly capture the trademark of Sear Bliss and albeit melancholy and somewhat grim, the diversity can be easily found in every song. The melodic passages are combined with immense harmonies and while there are plenty of slower songs like “Forgotten Deities” that offer one of the greatest instrumental songs in the band’s musical career. The slow gait of the drums throughout the song provides space for more ethereal sounds to flow wonderfully. This four-minute atmospheric piece is highly ornate in composition and style, Sear Bliss’ musical journey traverses beyond the traditional style of black metal.

Though many moments on the album remind me of other Hungarian bands like Forest Silence, and the Romanian black metal band Negură Bunget; Sear Bliss has kept their sound vibrant and dynamic throughout the past three decades. The atmospheric elements on songs like “The Winding Path” use a fair amount of synth, but showcase the ability to contrast the guitar solos and the melodic passages. This track highlights the unique qualities of integrating different instruments into the music; the electronic sections are flawlessly composed with the progressive touch of the guitars.

“Chasm” is another brilliant track on the album and the final track “Feathers in Ashes” drifts towards the heavier and aggressive side of the band, however, the use of clean vocals showcases the innovative approach. The melancholic riffs and the shimmering synth are perfectly balanced in the latter track making this one of my favorite songs in the album, the synth passages are fluid, dark, and breathlessly melodic with the raspy vocals adding harshness to the breath-stealing symphonies, and the uncompromising drums are the hallmark of these Hungarians.

Links