Format : 33T 180-220 gr Couleur : Red Label : Nuclear War Now Pressage : ANTI-GOTH771LPred - Ukraine Année : 2025
Etat général : Réédition neuf
Info :
Sun in the House of the Scorpion is the second album by the Ukrainian black metal band Blood of Kingu, a project featuring members of Drudkh and Hate Forest. Following the acclaimed debut De Occulta Philosophia, which delivered an evocative and atmospheric black metal experience, the band's sophomore release from 2010 expands upon that foundation with a sharper focus and greater intensity.
The album's cover art, “Wolf Walker” by the late Polish artist Zdzisław Beksiński, perfectly complements the unsettling tone of the music. Its haunting imagery mirrors the album's dark, ritualistic atmosphere.
From the opening full-length track, the listener immediately notices a marked improvement in production quality. The sound is cleaner and more refined, allowing the intricate musicianship to shine through. Vocally, Sun in the House of the Scorpion introduces greater variety compared to its predecessor. While De Occulta Philosophia relied heavily on shamanic droning vocals, this album incorporates a blend of those meditative chants with harsh, feral growls reminiscent of Hate Forest. This dual approach adds depth and dynamism, enhancing the overall listening experience.
Musically, the album adopts a more aggressive black metal approach. Unlike De Occulta Philosophia, which interspersed instrumental interludes between most songs, Sun in the House of the Scorpion features only an extended intro and outro. This streamlined structure maintains the album's momentum and prevents unnecessary breaks, resulting in a more cohesive and immersive flow.
The improved production also enriches the overall sound, replacing the dense, murky texture of the debut with a clearer, more powerful mix. The guitar work and drumming display greater technicality and precision, moving away from the repetitive, minimalist tendencies of the earlier material. The drums, in particular, take on a more commanding role throughout the album.
There are clear stylistic nods to Immortal's Pure Holocaust, evident in the relentless blast beats and tremolo-driven riffing that characterize many of the songs. The influence is unmistakable, yet Blood of Kingu infuses it with their distinct ritualistic aura, creating something uniquely their own.
The album concludes with a cover of Beherit's “Gate of Nanna,” a fitting homage to one of black metal's most unorthodox pioneers and an apt closing to this intense and spiritually charged record.
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