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Predatory Light – Death and the Twilight Hours


Last Updated on 17:20 by Giorgos Tsekas

Genre: Black Metal/Doom/Death
Country: U.S.A.
Label: 20 Buck Spin
Year: 2022

Predatory Light return is brutal, atmospheric, emphatic and closer to Black Metal than ever. The depressive proto-black that the Santa Fe, New Mexico / Seattle, Washington based quartet had offered us six years ago under the simple name of their moniker had prepare us for something big. Whoever can understand the superiority of Master’s Hammer here can find something really special. Full of technical parts, intense, Death Metal drenched and shredding riffs, tremolo picks, eerie atmosphere, melancholic, drifting melodies that haunt you like Erinyes, a suffocating vibe of nightmare, an aura of ancient evil in only four songs that their shadow seems like 4 giant swords ready to cut your head off. Lyrically speaking this crescendo of fear and apprehension is based on Athenian Plague, borrows imagery from Boccaccio and is an ode upon the triumph of death upon humanity. Predatory Light is one of the kids of Kyle Morgan; the brilliant guitar player is also part of Ash Borer, Superstition, Vanum line up so you should expect a guitar work that is more than just impressive, as the lead guitar tones are simple and effective in their darkness and viciousness, while the pessimistic soloing oozes misery and an early Tribulation gothic influence. It will also bring in mind Absu, Negative Plane, Devil Master or Funeral Presence. Death and the Twilight Hours features four hymns, ranging between 6 and nearly 14 minutes each, that create a US Doom/Death influenced Black metal that meets the greatness of South European Black Metal climax at its finest… The second coming of US Black Metal is now.

Giorgos Tsekas
Giorgos Tsekas
"Κάποτε Όταν Θα ‘χουμε Καιρό... Θα Σκεφτούμε Πάνω Στις Ιδέες Όλων Των Μεγάλων Στοχαστών, Θα Θαυμάσουμε Τους Πίνακες Όλων Των Μεγάλων Ζωγράφων, Θα Γελάσουμε Με Όλους Τους Χωρατατζήδες, Θα Φλερτάρουμε Όλες Τις Γυναίκες, Θα Διδάξουμε Όλους Τους Ανθρώπους" Μπ. Μπρεχτ

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