The album begins with a chilling and spooky intro ‘The Covenant’ which paints a grisly cinematic experience of a horror film that soon becomes ravished by the grim falsetto of Meister Cagliostro. Attic makes use of the dark atmosphere. The twin guitars of the new member Max Povver and the band’s original and founding member Katte along with the smashing drums of J.P. create for the listener a symphony of the Wulpurgis night in the song ‘Darkest Rites’.

When the moment is right the vocals unleash his banshee screams reminding us of King Diamond/Mercyful Fate. The rhythm guitars and the rumbling bass of Chris ascend to the galloping riffs and melodies which boast dynamic changes. Meanwhile on ‘Hailstorm and Tempest’ Attic utilizes the full gamut of aggression. This track reflects the catchiness of the lead guitar work in addition to the drums shifting in speed to the tremolo-picked riffs, humming bass guitar and the skillfulness of the theatrical vocals.

Some classic heavy metal tunes are featured on the track ‘The Thief’s Candle’ which sprinkles a touch of black metal in the musty air of occultism and puts the rhythm guitars in the spotlight. The dark ascending high-end wailing in the background sets the landscape of grim atmosphere and darkness and the fundamental riffs that brings true heavy metal music to perfection. The guitar abilities are exquisite and the bass is of great quality, Attic‘s take on heavy metal will make you shudder in awe and wonderment at the amazing performance.

Often the slow pace of the drums brings out the catchy side of the band, but it also shows the songwriting skills of these German lads, the guitars conjure some of the heaviest riffs on the album and there are plenty of impressive melodies sweeping through the beating drums. With a crunchy guitar tone and memorable soaring lead guitars, songs are mostly maintained in the mid-tempo and unfold the beauty of the composition.

‘Return of the Witchfinder’ is a catchy and dark album full of galloping riffing. The production is superb, though the songs have both a modern and classic feel to them that could easily make it one of the best albums of the year. The solid aggression of the guitar is paired with a powerful double bass. Dramatic solos weave a thrilling atmosphere between the piercing vocals. The galloping riffs are inspired by Iron Maiden carried by sensational and effective shrill vocals which are perfectly captured on the album’s title song.

The sleek guitar work takes a prominent role in shaping up the rest of the songs like ‘Offerings to Baalberith’ which opens with a slow instrumental, only to pave the way for the rhythm and melodies to provide powerful head-banging riffs. Of course, there are tons of stomping drums combined with aggression and melodies.

The medium pace of the song ‘Azrael’ allows the soaring melodies to shine. Despite the simple drum fills the guitars hit the climax with Cagliostro maintaining his same approach as the mid-range falsetto in the background swells. However, the use of the church organ instrument conveys a chilling feeling in ‘Up In the Castle’ plunging the ears into eerie darkness.

‘The Baleful Baron’ is a well-structured song that highlights the compositional qualities of the rhythm: it has the old-school feel of traditional heavy metal. The dark elements of the vocals contribute to the searing melodies and the creepy howls are the most significant part of this song. The album ends with an epic seven-minute cut ‘Synodus Horrenda’ and while there are some tremolo sections that are very nicely structured, there is more balance to the vocals and tempo changes revealing the many facets of this riff-laden song.

The blast beats are present here with complex melodies that are masterfully crafted, offering quality and hooks that are inescapable. Amid the slow pace where melodies weave together like a scenic tapestry of cold moonlight floating atop the church and the percussive sound of the blasting drums brings something superior.

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