Winterfylleth – The Dark Hereafter Review

winterfylleth-the-dark-hereafterAs darkness infiltrates the dusk and dawn to behold the decadence of the autumnal axis in its beautiful but lethal poison upon the land so too do the Mancunians known as Winterfylleth survey the natural history of Britain’s wealth and woes with pyretic resolution.

It’s fitting that the new chapter in Winterfylleth’s ever growing catalogue happens unto October, the name sake of the mighty band, as their spooky and often horrific sound battles with the dying days of an almighty dragon. Mirroring the destitution in a flurry of slaughter where the riffs grace every attack with compassion.

The Dark Hereafter isn’t as intense as their previous efforts but the it still abides by the grandeur the band purport in epic proportions. With only three new tracks (Led Astray In The Forest Dark is a cover) that blast with hypercognitive articulation propelling riffs that are as fresh as morning mist told behind that keen fog with prim and proper dissonance.

Pariah’s Path was originally a bonus track on 2014’s The Divination Of Antiquity and duly fits within the context of the album but it’s an old track that’s been slightly reworked. Giving fans who didn’t pick up the digi-pak edition a chance to hear the song in all its glory. The second longest track on the album it’s pale in comparison to the superior Green Cathedral that comes in at almost thirteen and a half minutes. Both tracks that harness a solem chorus to trance-like effect.

The final track on the album is a very surprising cover of the progenitors of heritage black metal Ulver. Taken from the Bergtatt album Capitel I: I Troldskog Faren Vild is Led Astray in the Forest Dark. It sticks very true to the core of the original track, which is a bit disappointing as even Ulver recognised the spirit of change and how to harness it. Yet it remains a great track and Winterfylleth play it proud.

Three new songs that are grand and epic Winterfylleth are now a cultural institution let alone an obscure novelty. The new tracks are killer and have an airier tone while the old track still slays, and the cover, well let’s just say it brought a tear to my eye.


About David Oberlin 346 Articles
David Oberlin is a composer and visual artist who loves noise more than a tidy writing space. You can often find him in your dankest nightmares or on twitter @DieSkaarj while slugging the largest and blackest coffee his [REDACTED] loyalty card can provide.

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