The unearthly tone is set right from the beginning of the opening track ‘The Mask of Night-Speaking’ which opens in a mysterious way that cements the band’s identity. The lineup also features Eoghan (bass and drums), Nox Corvus (guitars), and most fittingly the screeching vocals of Naas Alcameth. The aggression is consistent and puts you in a horrifying nightmare of a grotesque quality as the deluge of blast beats gradually enhances the fast-paced guitar riffs.

The slight adjustment this time has made the songs more focused on the shocking twists of the organ instrument. Even the darkly sinister effect adds to the demonic atmosphere of the album and given the song’s copious amounts of synth, it somehow shows the sonic shift away from the previous albums. Suddenly, ‘Maze Phobetor’ erupts into a blazing fury and the warped experience touches upon everything from sinister black metal to atmospheric-paced moments that would remind many of the band Nightbringer.

However, there’s an emphasis on balancing the synth and the electronic sound: the previous album ‘Melinoë’ somewhat lacked the magical touch of providing an atmospheric backbone to the songs, with the guitars, and the synth weaving interlaced and menacing walls of sounds.

Brooding and dark, the following song ‘Through The Abyssal Door’ dispenses the uncanny elements and creates depth. The riffs are overly dense: every instrument from the blasting drums to the guitars fits within the cascading opus with the screeching vocals having a menacing tone. There is something unsettling in the slow-paced moments where the synth is utilized. Be it the complex drumming or the double bass drums that beckon in a slow and ominous rhythm, both deliver an atmosphere of dread and for the entire fifty-three minutes Akhlys possesses your soul and keeps you on the edge.

‘House of The Black Geminus’ is full of intricate details ,although simultaneously relentless and dreary, you will be trapped in a disharmonious realm that is coldly eerie and appears ineffably pure in its evil manifestation. ‘Black Geminus’ is the next terminal leading into a dark realm of the void, layered with the synthesizer and the electronic soundscapes that wash away by the ebb and flow of the creepy subvert background.

‘Sister Silence, Brother Sleep’ has more abrasion and is strengthened by tides of blast beats. The sonic extremity includes some powerful synth effects, blazing riffs and hammering drum beats that mark the optimal composition. Some of the enticing moments here are the impressive utilization of synth and the abrasive drums.

The album comes close to a symphonic and atmospheric form of black metal that cannot be neglected. Akhlys creates many segments that would easily make the fourth opus truly rewarding for its nightmarish experience. ‘House of The Black Geminus’ borders on a sinister black metal exploiting a quasi-symphonic perspective: elements that resemble the early albums of Limbonic Art and incorporate an organic mix of aggressive and straightforward black metal.

The guitar melodies have plenty of variation in them as the closing track ‘Eye of the Daemon – Daemon I’ focuses on drums and the aggressive pace of the guitars. The song ranges in a slow to fast-paced tempo and the synths are incredibly catchy and incorporated in the right moments to add that demonic vibe to the storming drums. The malefic feel exudes an unearthly aura and some epic catchy riffs create dark passages full of demonic shrieking, abrasive rawness and enthralling keyboards. Nas Alcameth has conveyed a sublime symphony of nightmares and in my opinion, the fourth album defines the sonic craft of the Colorado-based black metal trio.

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