The opening instrumental cut “Scattering The Ashes” brings something fresh, similar to the style of Varg Vikernes of Burzum. The monochromatic palette of this song infuses solemnity into the music to enhance the melancholic drenched guitar parts, however, the monotonous sound of the dramatic fuzz-tuned guitars paints images of vibrant gold and scarlet leaves that transform the music into a sudden motion. Like the blooming gnarled standing trees under a thick layer of ashen skies and lakes mirroring the autumn glow, its seven minutes depict the beauty of Drudkh’s natural themes.

There aren’t any fleeting moments in the album where the magical soundscapes don’t weave the soaring synth through the furious drumming. The towering tremolo pickings shimmer with the vocal rasps in the following song “April” perfectly showcases the intricate fabric of the tremolo riffing that builds an atmospheric majestic mood. The soaring keyboards create a hypnotic atmosphere, driven by mid-paced drums and dark guitar sections adding a unique touch of melodies.

The trademark is in the class of its sound, and the music speaks for itself. Each song on the album has a beautiful melodic aura that blends textural synth through the lush luxuriant guitars Drudkh offers memorable patterns and emphasizes repetitive riffs of the vibrant rhythms and straightforward drumming without focusing on blast beats yet another aspect of this brilliant track.

The song “The Exile” provides a timeless experience where the music reaches the zenith. The tremolo pickings and the organic work of the drums carry this song through a ten-minute journey into epic black metal, and the combination of many elements allows this song to transcend the towering heights.

There is enough intensity and raw riffs to balance the emotional and melodic facets of songwriting with the atmosphere the crisper guitar tone is followed by thrusting drums and the composition fully captures the rawness of the songs. Drudkh has long been inspired by its homeland pride and the poetic depictions of Ukrainian mythology and legends. The departure from musical experimentation was evident in the 2018 album “They Often See Dreams About the Spring” and the follow-up 2022 album “All Belong to the Night” when the band embraced the aggressive black metal sound.

The thirteenth studio album provides fans with an array of charming compositions, by taking a detour into atmospheric and melancholic moods. As a result, we get plenty of epic tremolo riffing and blast beats that remind us of Norwegian black metal, with the synth creating the effect, especially in the blasting sections.

“The Eve” presents the flawless transitions of blast beats to mid-paced beats accompanied by waves of subtly melodic tremolo that evoke the pastoral and autumnal style of Drudkh that puts you into rapture. As the song moves along and crafting it with the majestic tone of the synth, the guitars, and the drums embellish the dark atmosphere.

The slow mid-tempo parts feature plenty of melancholic moments, the acoustic guitars are embedded, and the music speaks for itself. The framework of the music is quite somber and by far the best offering from the band in a long time, and therefore Drudkh expands upon its current style.

The closing track “The Thirst” maintains its melancholic tone, and raspy vocals remind us of the grand craftsmanship. The flowing atmosphere contrasts with the blistering drums, providing dynamics and a sense of insight for the listener to contemplate the unique compositions of the buzzy raw guitars and the blazing tempos. Despite having a similar style to the previous output, Drudkh’s thirteenth studio album will be long remembered and admired by fans of atmospheric black metal.

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