Carpathian Forest
Defending The Throne Of Evil

A new, dreadful cancer has traversed the frozen expanses of Norway to spread Evil across the world. Four demons spewed from the bowels of hell chant the new anthem of perdition that rises from the North. Their name is Carpathian Forest and, people of Metal stand up, this is DEFENDING THE THRONE OF EVIL.

To lift the veil and enter the non-light, let yourself sink into the abysmal waters of the first, enigmatic "It's Darker Than You Think." A macabre, deep piano scale opens slowly, loading the atmosphere with dark omens, in an increasingly gloomy crescendo of madness... a spasmodic bass note introduces a devastating, massive riff that crowns a sick, morbid scream... the first loops are raw, harsh, but the guitar inserts a magnificent instrumental element, which duets with the voice, wrapping and tearing it, merging with it in an impure union. The rhythm changes again, evolving into a violent chorus, punctuated and cut by the angry vocal insertions of Natterfrost, who desperately chases an obsessive, distressing melody.
The second track, in the mother tongue, is relentless, repetitive, heavy in the truest sense of the term. The voice experiments with hybrid and unhealthy tones, masterpieces of black genius.
In third position, "The Well Of All Human Tears" does not go unnoticed. Imposing in its dark strength, it is cloaked in unsettling atmospheres made of silvery chimes that hide its horrid features without completely concealing them.
From "Put To Sleep Like a Sick Animal" to "Christian Incoherent Drivel," the path is one of death, destruction, violence, and cold madness, reaching its peak in the feral "One With The Earth." The melody is replaced by furious riffs that seem to pulse, animated by a malevolent force around an inhuman voice, a scream from another world.
The tenth position brings an end to the escalation. But if you listen to the few seconds of unusual silence, broken only by a faint whistle, you will realize that "The Old House On The Hill" is not a track like the others... an unsettling cold infiltrates the air... a fast, childish, almost cheerful melody suddenly spreads, accompanied by a distant, muffled, lacerating scream... and in a moment you will return to childhood, to that night when you curled under the blankets in your little room, terrified by a storm whose evil thunders awakened all your most absurd fears that at that moment were so real, that in the light of those macabre flashes transformed the playful smiles of the toys on the shelf into horrible grins, their innocent eyes into empty sockets, their soft bodies into skeletal limbs reaching from the realm of shadows to drag you into madness...

Another small masterpiece is the next song, Nekrophiliac. Perverse in its slow, fiercely tormented features, adorned with moments of furious speed that express visceral, senseless rage, making it much more disturbing, it fades out, accompanied by a long, macabre, funereal whistle… yes, it is indeed a sax.
An instrument that makes the haunting notes of "Cold Murderous Music" unique, the last, delightful track of the album. A vocal style reminiscent of "The Old House On The Hill" completes a scratched, dirty melody, whose delicate instrumental webs are torn by vibrant sax notes, like the hymen of a demonic lover...

And I can’t guarantee that you’ll be able to fall asleep...

"...watching, waiting, observing, my Fallen Angel..."