The explosive opening of the percussion of this record is undoubtedly outstanding. This split gathers Ukrainian band Drudkh and the Norwegian Hades Almighty. Drudkh opens the album with two tracks, part of the poem “Black Rivers”(ballad lll) by Vladimir Svidzinsky, while Hades Almighty brings three tracks, taken from their EP “Pyre Era, Black!” released in 2015.
Both of Drudhk’s tracks are long, fast-paced and heavily melodic, with some riff variations along the song, but keeping present the main riff on the listener’s ear. Stylistically it continues in the same line that was presented on the 2015 album “The Furrow Cut Short” but this time working out much better thanks to the remastering work. The percussion in “Golden House” is rather violent at the opening, with the battery being the queen on the first minutes and then allowing the guitars and a sublime keyboard to transform it into something more melodic. The rhythm breaks in the “Fierly Serpent” creates the easily recognizable atmosphere of these Ukrainian nationalists.
Then it follows Hades, that after 14 years after the album “The Purse of Decay Pyre” have returned with the EP “Pyre, was Black” which it’s presented in full on this, at the least surprising contribution. Their songs are deep and dark with a light industrial touch, the vocals range from torn voices and fierce cries, and breaking the chains along the compositions. Bound sets an end to the funeral march and awakens into a change, keeping a melancholy atmosphere; this time the vocals are clean and the composition is slower and more melodic than the first, their riffs may seem simple, but they result in a surprising, unique and mysterious composition.
Although Drudhk’s contribution may not be the most amazing for the longtime band fans, but the heavy themes end up working well, alongside with a now invigorated Hades Almighty, making a cohesive album with a decrease of rhythm and anger through it.
7/10
