Necrophobic is one of the most consistent bands in the last three decades, formed in 1989 by the original drummer Joakim Sterner and guitarist Blackmoon. However, the coherent lineup of Anders Strokirk (vocals), Sebastian Ramstedt (lead guitars), Johan Bergebäck (rhythm guitar), and Tobias Cristiansson (bass) wield a remarkable craft in the new album.

Fierce as the blistering Nordic storm the guitars in the opening track “Grace of The Past” unleash the classic tremolo-picked riffs, the churning atmosphere of evil darkness is embodied in the frosty growls of Anders Strokirk. The majority of the album is mid-paced with fast tempos and guitar hooks emphasized by the maestro Sebastian Ramstedt.

Necrophobic manifests uncompromising rawness that is sinisterly reminiscent of the early Swedish black metal. “Calvis Inferi” hits with a fast drumming braced with a menacing riffing, the melodies on this album are monumental and have a proclivity towards an epic atmosphere.

The slow atmospheric opening of “As Stars Collide” comes into full display in the majestic chilling intro, all these aspects are masterfully carried out by the lead guitarist and the epic rhythm touches of Johan Bergebäck make it one of the memorable songs. The atmosphere and the blazing solos enhance the grandiosity that perfectly reflects Necrophobic’s fine mastery. A hail of rhythmic choirs carried by dark snarls, the dark ravenous atmosphere is evident to be true and classic, and therefore on “In Twilight Grey” the tremolos are intense and full of aggression.

“Stormcrow” is one of the highlights of the album, and it combines the unholy classic style of Necrophobic. The guitars offer thrashing blackened tempos while choruses in the mid-tempo are catchy, and the main riff of the song is instantly furious; the twin guitars reveal its full rapid riffing and drumming eruption is hellishly powerful. Dark melodic guitar solos provide a whole effect to create memorable passages, the song structure is laden with beautiful hooks in the mid-tempo and the buzz saw riffing flows well to the ravenous harsh growls.

The songwriting is the defining aspect where the quintet offers superior quality on songs like “Shadows of the Brightest Night”. This track has a cold tremolo tone and the drumming provides aggression and intense blast beats, everything from the thundering drums to the layering melodies and guitar solos perfectly achieves a cult status. The guitar work on this album stems from the roots of heavy metal and embeds a merciless Scandinavian black metal into the composition. With its raw aggression and there is also a great balance between the epic themes and the masterful touches of the lead and rhythm guitars which adds a dark icy atmosphere on “Mirrors of a Thousand Lakes”.

“In Twilight Grey” has some nuances from the previous albums, like “Mark of the Necrogram” and “Dawn of the Damned”. But while the songs here sound heavier, focused, and more sinister Necrophobic delivers one of its best studio albums, the performance, and the songwriting is well diversified and less melodic as it presents the evil facet of 90s Swedish black metal.

The fierce drumming and the barrage of the storming riffage move in a sleek manner from fast tempos to mid-paced. All these elements are the result of a much more refined songwriting, the lead guitar approach this time differs, and the sonic aesthetic is conjured to create an evil atmosphere.

One of the fastest songs is “Cast in Stone” where Necrophobic shows once again that they’re able to bolster a brutal effective sound. The riffs are extremely catchy hence, unleashing a full force of tremolo-picked riffs and there are plenty of epic leads scattered across the duration of the album.

The songwriting takes elements from bands like Bathory and Iron Maiden, the Swedes have been compelling at bringing a raw black metal sound. And the riffing of songs like “Nordavind” is among the heaviest and rawest songs the band has ever written it offers a hellish uncompromising black metal mayhem. Despite the mid-tempo pace the galloping riffs and the rumbling bass guitar of Tobias Cristiansson contrast to the vicious riffing, the drumming patterns are intensely played and deliver savage blistering tempos.

The album’s title track “In Twilight Grey” bursts into a blazing speed with the sharp tremolo riffing paired with the battering drums and bombastic black metal majesty that sounds raw, evil, and furious. The epic guitar touches add a perfect feel before the blazing riffs continue to the end of this song, and it perfectly fits with the incarnating figure of the demon on the album cover.

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