Black metal is often reputed to be harsh: cold, sharp, and merciless. Of course, such a statement is somewhat reductive—a generalisation rather than a hard and fast rule—but many bands do attempt to channel that traditional Scandinavian frost into their music, crafting a chilling, dark soundscape. Naturally, though, the far north is not the only place on Earth where cold and darkness reign. Consider, for instance, the deep sea: with its constant temperature of 4°C, immense pressure reaching up to a thousand times that of the surface, and a complete absence of sunlight. The very deepest zone of our oceans, found only in oceanic trenches at depths beyond 6,000 metres, is known as the hadal zone—named after the Greek god of the underworld, Hades. This realm is mysterious, oppressive, and ominous, which makes it the perfect thematic inspiration for Belgium’s Lhaäd.
Lhaäd is the brainchild of Filip Dupont, a.k.a. Lykormas. He is the driving force behind The Nox Entity Collective, which includes projects such as Entartung, Wolven, and Rituals of the Dead Hand, and he also plays guitar in Hemelbestormer. The name “Lhaäd” is, unsurprisingly, an anagram of “hadal”, and the music fully reflects the mystery and oppressive nature of these deepest oceanic realms. Beyond follows on from Below (2021) and Beneath (2024), and thus forms the final chapter of this unfathomable trilogy. The two previous releases could be described as malevolent, compact, and solid atmospheric black metal, marked by cosmic (think Darkspace and the Ukrainian Bezmir) and industrial (Thorns) influences. On both records, ferociously extreme outbursts, sluggish and crushing passages, and brief atmospheric interludes alternated with one another, while melodic tremolo riffs were interspersed with sharp and dissonant guitar work.
In my review of Beneath, I already noted some striking parallels between the first two releases, and it’s now clear that Beyond deviates little from that established path. The trilogy thus consists of three albums, each approximately forty minutes in length, comprising exactly six tracks apiece, each lasting around six to seven minutes. The tracks bear no individual titles but are instead numbered using Roman numerals. Add to this the central theme—which also defines the atmosphere of each album—and you are left with a very coherent whole.
Another point of consistency: all three albums begin with underwater sounds. The sharp, hissing vocalisations (as if from some deep-sea creature) have, like all vocal elements in Lhaäd’s music, no semantic meaning (according to Lykormas, the voice is purely a tool to evoke atmosphere), yet they greatly enhance immersion into the dark waters of this sonic ocean. As expected—given the focus on coherence—there are no fundamental changes to the musical approach, and the album opens immediately with melodic tremolo that seems to rise from the depths. The sound is noticeably thicker and heavier than on previous releases; more massive and slightly less sharp (largely due to the less frequent use of cymbals), which I believe benefits the listening experience. Once the screws begin to turn, the sonic submarine named Beyond I launches ahead at full throttle, driven by fiery intensity and a subtle balancing act between the allure of colourful riffs and melodies, the nervous energy of the drumwork, and the unrelenting rawness of Lykormas’ vocal emanations.
Compared to Beneath, the drums on Beyond are not only less sharp but also less prominent; it’s primarily the guitars, in tandem with Lykormas’ voice, that carry the narrative. Beyond I is a raging maelstrom, a rolling threat that knows no respite, bombarding your eardrums with intensely melodic tremolo until it reaches a grand cathartic climax at the end—supported by mysterious synth veils. What a glorious moment: passages like this are precisely why I hold such affection for this genre.
Beyond II, like its predecessor, unfolds slowly—laden with foreboding and dissonance—where beautifully layered melodic guitar chords and riffs are alternated with or supported by marine ambient sounds and cosmic, mystical synths that occasionally rise powerfully to the fore. The tracks on Beyond are long enough to allow for development. This also gives Lykormas room to experiment with different atmospheric textures, dissonant leads, unconventional riffs, unexpected tempo shifts, and varied (sometimes modern and progressive-sounding) rhythms—where drums once again play a key role—while his voice frequently leads the charge. As a result, the tracks feel rich and full: each one a rollercoaster of sharply contrasting passages bursting with fresh ideas, all wrapped in a harsh yet melodically compelling aesthetic. At times, the focus is on atmosphere; at others, on aggression, melody, or industrial bleakness. Thanks to this variety, the long tracks on this album, despite their weighty sound, never feel like a chore to get through, but rather unfold as gripping explorations. A fine example is Beyond III, which ends its grim journey with spoken word and melodic solace.
Even the unrelenting energy of the fairly exhausting Beyond IV—which for the most part barrels forward in a straight line—is briefly tempered by a temporary deceleration, the sound of breaking waves, and the reflective, enchanting tones of delicate string work (do pay attention to the dense layer of drumming that sits beneath this—how beautifully complementary those layers are!). The variation here is by no means chaotic or arbitrary but is instead a carefully calibrated interplay between compositional elements.
Thanks to its unique thematic perspective, Lhaäd offers an unusual take on black metal. That doesn’t mean, however, that Lykormas isn’t drawing from other bands for inspiration. Once again, I hear the cosmic black metal evocations of Bezmir, the old Scandinavian riffs and synths reminiscent of Emperor, the industrial influences of Thorns, the melodic transcendence of …And Oceans, and on Beyond III, even a brief moment echoing the distorted, frantic virtuosity of Dark Fortress’ Ylem. Additionally, the modern production and unconventional structures and elements often draw the music closer to post-black metal.
Lhaäd doesn’t conclude Beyond VI with a bombastic finale, but with atmosphere. The track begins rather grim and vicious, with mid-tempo tremolo riffs woven into the misty synths we’ve come to expect throughout the album. What follows is Beyond’s most atmospheric moment—though it bears clear resemblance to a similar passage on Beyond IV: at a languid pace, mystical string plucks are merged with the sound of the sea and hypnotic whispers. Those expecting the album to end in a climactic outburst will be disappointed—the finale fades slowly into silence, though not without first leaving the door ajar for what might well become the next trilogy: “Beyond this world there is nothing but fire.” We hear crackling flames and the first (literal) meaningful words of the entire Below–Beneath–Beyond trilogy. The album cover had already hinted at this fiery gateway “Beyond this world”, but it remains a striking and somewhat unexpected addition. The beginning of a new trilogy on the elements (water – fire – earth – air)? Or am I getting carried away?
What is certain is that I am thoroughly enthusiastic about this album. Beyond is the culmination of Lhaäd’s excellent deep-sea triptych. In many respects, this final instalment is even better (and darker) than its predecessors—already of very high calibre—though it’s not a record built on standout tracks or highlights. Beyond is more of a total experience, one that captures the deep sea, in all its crushing massiveness, with raw, relentless (yet organically textured) atmospheric black metal. It’s demanding material—not for the faint of heart—but brimming with memorable melodic riffs, immense variation, and subtle nuances in every layer of the music. Ultimately, it is the more understated, unorthodox, and experimental passages that elevate this work to a higher level.
With Beyond, Lhaäd takes yet another step forward in its quest to uncover the secrets of the deep sea. On this final chapter of the hadal triptych, Lykormas descends deeper than ever before. And the deeper one goes, the more crushing the pressure becomes, and the more tangible—and complete—the darkness feels. That is exactly what Beyond conveys.
Score:
85/100
Label:
Amor Fati Productions / Extraconscious Records, 2025
Tracklisting:
- Beyond I
- Beyond II
- Beyond III
- Beyond IV
- Beyond V
- Beyond VI
Line-up:
- Lykormas – Vocals, all instruments
Links: