It’s time once again for Azgaal to rise to the occasion.
Founded in 2000 by Naïwyn (vocals/all instruments) in France, the project has signed with Fetzner Death Records for the release of its ninth album, Divine Hitman.
Versipellis starts with an unsettling sound, then becomes massive and aggressive yet somewhat cold, at least until growls begin to haunt the rhythm section, occasionally complemented by passages of clean vocals when the riffs become a bit more accessible and catchy, creating an interesting duality. There’s also a particularly melodic break that sets the stage for the solo, after which the sound ignites once more, leading us to Dans les flammes du purgatoire, the next track, which primarily draws on the ethereal elements and dual vocals to weave its heavy atmosphere, though it borrows a bit from heavy metal in the lead guitar parts. The musician switches to English for The Reaper Comes to You, a fairly old-school and energetic track infused with black/thrash metal that clearly showcases its liveliness and ferocity, but the atmosphere calms down for a moment before a final surge of energy leads into La marche du pénitent, a track where French takes center stage once more to tell this melancholic and gripping story. A detour into more majestic tones without losing sight of the intensity on To the Ice Palace, a haunting track where the musician invites Greek guitarist Diman (Meden Agan) to enhance the theatrical aspect; then we return to the icy atmosphere with Breaker of the Tides, a track featuring dissonant and intoxicating melodies of the highest caliber, perfectly complementing the bright, clear vocals. In the Bowels of the Sunken City offers a long, intricate instrumental passage starting off clear and eventually becoming distorted, creating a truly welcome moment of tranquility before it intensifies; it provides a breather before leading into The Bewitched Souls, which marks the return of both intensity and vocals. I feel like I’m discovering a more personal and visceral facet of Naïwyn’s music on this track, influenced by elements different from the previous songs, before returning to a rawer sound on Finis Temporis, where the contrast remains present while staying rooted in a rather heavy and mystical style. We find this same, rather raw approach on The Occultist Error, the album’s final track, which shifts from jagged riffing and aggressive screams to more haunting, highly melodic passages that almost evoke Gothic elements, confirming and emphasizing the band’s sonic diversity one last time.
While Azgaal remains deeply committed to its sometimes cold but also quite Old School Black Metal, Divine Hitman features an ethereal, melodic, and at times even majestic dimension, ensuring that the entire album flows at a very satisfying pace.
90/100
