Double the darkness, double the crushing weight, double the nightmares, double the mortal fear. That’s our feature Twice As Heavy. Naas Alcameth shook everyone to the core in 2020 with the gripping Melinoë and now returns with an album we both eagerly and fearfully anticipated. It simply demanded to be examined from multiple perspectives. Plus, editors would have fought tooth and nail to secure the privilege of reviewing this one. This time, we delve into House of the Black Geminus by Akhlys. Longtime fan Bart Alfvoet (favorite genres: industrial/atmospheric black and questionable power metal) and Tafkads (favorite genre: black metal) muster their courage and endurance, while also feeling privileged, to dissect this masterpiece.
“One, two, Akhlys is coming for you. Three, four, better lock your door. Five, six, grab your crucifix. Seven, eight, gonna stay up late. Nine, ten, never sleep again.”
Akhlys is back. Four years after Melinoë, the three Americans are here to once again disturb your sleep with morbid, perverse, unearthly nightmares. This assault on your mental health began in 2009 with Supplication, escalated in 2015 with the release of The Dreaming I, and reached a horrifying peak in 2020 when Melinoë crossed the Atlantic. Bart Alfvoet described The Dreaming I as “Overwhelmingly malevolent black metal full of compression… Masterful, magnificent, magical.” Tafkads wrote about Melinoë: “This visitation by Melinoë is brutal, bombastic, and terrifying, but also intense and mystical.” Clearly, Akhlys never fails to leave an impression, and the announcement of House of the Black Geminus was reason enough for Bart Alfvoet and Tafkads to team up for a two-sided analysis of album number four. Because Akhlys deserves it. And perhaps because we were too scared to face this sonic demon alone.
Akhlys is the brainchild of Naas Alcameth, whom you might also know from Aoratos and Nightbringer. The band combines pitch-black, intense black metal with elements of dark ambient and industrial metal. Or, as the promo describes it: “Where calamity and passion meet at the crossroads of life, where everyone must confront their own demons.” Need more reasons to read on? House of the Black Geminus is released by Debemur Morti Productions. Enough said.
What were your first impressions of this new album?
Bart Alfvoet: May I immediately use the word “nightmare” as an obvious opener? Because that’s what this is: a nightmare, in the most positive sense of the word. And that sense does exist. For a reviewer, it’s a nightmare due to the overly long tracks, but for the listener, it’s perfect for consulting their inner demons. The nightmare is even more overwhelming in 2024: fiercer (that drummer is breaking speed limits left and right), nastier, more depraved, and above all… sicker. This is not just a spiritual or metaphysical work, it directly ties into physical, concrete afflictions expressed through all kinds of blackly creative constructions. Black metal horror, a rollercoaster of gripping intensity, impermeable to intrusion. Even severe apnea won’t save you by waking up here. Stormy, noisy, disturbing, and utterly rebellious. From the first listen, you’re hooked… Or you give up after ten minutes.
Nightmarish black metal is a genre with several strong contenders (Nightbringer and Aevangelist), but the clear favorite for gold is undoubtedly Akhlys. At least, that’s my initial impression.
Tafkads: Before my first listen, I had, of course, already formed some expectations. Or rather, a list of questions. How can Akhlys match the success of Melinoë? Will they take a new direction? Surprise us with new stylistic elements? Or stick to the same style? Can they maintain the same level of atmosphere and intensity, the same balance between (industrial) black metal and ambient? These thoughts ran through my head as I pressed play. After just five seconds, I already knew: Akhlys aims for the superlative. For total and utter annihilation. Akhlys comes across as harder, more brutal, more penetrating, and more merciless than on Melinoë. I didn’t think that was even possible. Within a minute, I genuinely felt like I had been swept into a vortex of evil, a nightmare (and I suspect I’ll be using that word a lot), from which there is no escape.
A Nightmare on Akhlys Street. I don’t want to be here. But the music calls to me like a siren with gleaming teeth, a devilish tyrant trying to corrupt my mind through my ears. As with Melinoë, I’m overcome by a sense of inevitability, a fatalistic desire to understand this musical chaos and survive this assault on my ears.
What an overwhelming sound, what insane malevolence. My first impression of this new album? House of the Black Geminus defies objective description, it’s dripping emotion of the blackest kind…
How would you briefly describe House of the Black Geminus?
Bart Alfvoet: I wouldn’t. There’s simply no way to describe this new record briefly.
Tafkads: Monumental, overwhelming, devastating, destructive. The album begins with seismic discharges, followed by perhaps the hardest black metal I’ve ever heard. It’s a sonic offensive that leaves you breathless until the (somewhat) title track. Black Geminus is the only fully ambient track, and while it gives you chills, it’s perfectly placed as a pause button. Figuratively, of course, because this album demands (and commands) to be played in its entirety. Black Geminus is just long enough to bring your heart rate back under control before Sister Silence, Brother Sleep drives it back up again.
The opening track, The Mask of Night-speaking, is a work of colossal proportions. It essentially lays the foundation for what is to come and serves as the perfect gauge to characterize this album. The drums sound super tight and lightning-fast. They are very prominent here because they are essential and carry this music even more than in most other bands. The near light-speed blast beats give the music an almost unreal, nervous, and compelling character: ideal for making you feel utterly uneasy. After all, that’s the intention. Every hit on the toms, every roll on the bass drum, every tap on the cymbals exudes malevolence, as if Eoghan strikes them with rage and aggression. But it’s especially the speed and combination of the different drumming elements that make the percussion so impressive. What a powerhouse Eoghan is! The guitars counter this with a lot of melodic violence, clearly layered, with razor-sharp, dissonant, and horrific leads. Nervousness is also reflected in the string work. The high frequency of the chords (especially in the tremolo) has an alarming quality, which again contributes to the sense of unrest and discomfort. The synths add to the chaos but contribute more obscurity than finesse; they, too, pursue the same goal: to destabilize, uproot, and terrify the listener. And then, of course, there’s Naas Alcameth’s voice: demonic and straight from hell. His hoarse, high, venomous scream fits perfectly into the ghostly picture.
What are the main strengths of this new work?
Bart Al Foet: Absolutely the production quality. The previous albums already excelled in terms of composition, atmosphere, and lyrical content. This new record gets a sound that peaks professionally. Akhlys tours, gathers fans by the hundreds, and will now also rise above the underground thanks to the treatment of this House of the Black Geminus. The grim, abrasively industrial ambient pieces, combined with the ever-developing layering (shift focus to different frequencies, and your trip takes you to entirely different realms), ensure that you’ll keep spinning this record repeatedly.
Where Melinoë and The Dreaming I feature tracks with immediate impact that stand on their own and fit well in various playlists, this new album is far less catchy and concise. The bigger picture delivers a total impact that transcends the individual tracks. This nightmare lasts a little under an hour, not six times X minutes.
Tafkads: House of the Black Geminus primarily sounds like a coherent whole. All elements of the music are perfectly in tune and serve the same goal: to terrorize the listener. Naas Alcameth has assembled the right people for this: technically skilled musicians who flawlessly translate the creepy story into music. The production has also been well thought out: the sound is very full, the impact of the drums and guitars is palpable, but there’s enough grit in the machinery to sound suitably raw and filthy. The drums also clearly drive the songs forward. Despite the noisy intensity of the heavier sections, this is a very balanced album. As mentioned, the position of Black Geminus is essential here: it balances the album beautifully. The first two tracks go almost non-stop for maximum impact and speed. The start of Maze of Phobetor is, for instance, a full-on hurricane of violence. It’s a gasp for breath, as Through the Abyssal Door offers little relief, though it does include a brief ambient passage. Black Geminus then serves as the perfect antidote. After that comes the album’s best track, which grabs attention with its transparent song structure and lyrics. But more on that below.
Are there any drawbacks to note?
Bart Al Foet: Always, depending on one’s mood. However, if you have a chronic mood, you might find that this band evolves into something excessive. The drumwork, for example, is highly impressive — almost arrogantly so — sometimes making it hard to overlook the speed and hear the bigger picture. The same applies to the ambient sections, which are usually not the parts that grab te most attention, but here also demand constant focus. For people like me, with the attention span of an average reel, that’s a good thing. But if you’re the type to sit and listen to the same riff for five uninterrupted minutes, the relentless intensity of House of the Black Geminus might come across as extremely distracting. The guitar parts sounding like a swarm of Black Mirror-bees is equally a pro and con within the nightmare context.
Tafkads: That depends on what you’re looking for in this album. The music is incredibly exhausting and in-your-face, so it’s certainly not for everyone. You also can’t just play House of the Black Geminus in the background; as a listener, you have to invest in it, allow the music to consume you, and immerse yourself in the whirlwind that Akhlys has created. The album also takes three or four listens for all the puzzle pieces to fit together, and that’s an investment, as this is anything but light fare. If I were to point out one minor flaw, I’d say the drums can sometimes be a bit too present and too loud in the mix, occasionally overshadowing the guitars. However, this happens sporadically, as there’s usually a good balance.
How does the new album compare to its predecessors? Is there any noticeable evolution in Akhlys or is the band sticking to its tried-and-true formula?
Bart Al Foet: As mentioned: production-wise, it keeps pushing forward. Feel free to decide for yourself whether that’s a good thing, but it’s undoubtedly an evolution. The lyrics are also becoming slightly more accessible; it doesn’t all have to be Latin anymore. The commercial aspect (artwork, merchandise, various editions) is also closely monitored by Debemur Morti, so we’ll see the name pop up more frequently (I’m complicit as well). Beyond that, musically, this is more of a total concept. Not that we could talk about “hits” on the previous albums, but there’s definitely a noticeable difference.
Tafkads: I’d dare say House of the Black Geminus is even better than its predecessor. I find the new album more organized and transparent, without sacrificing grandeur or intensity. On the contrary: House of the Black Geminus sounds sharper, tighter, and more massive. It’s also more to-the-point melodically, making it more memorable than Melinoë, which was somewhat more atmospheric. While Melinoë was more of a total concept, primarily distinguished by a few beautiful leads, the tracks on House of the Black Geminus have more identity. The layering of the guitars is also better showcased here. I’d like to note that the slightly more organic approach of Melinoë may be a plus rather than a minus for some listeners. Of course, this is still the same band, and Akhlys isn’t doing anything wildly new on the new album. And that’s a good thing.
Which track stands out the most?
Bart Al Foet: Tough question. Definitely Maze of Phobetor, easily the zenith of this album (ultra-fast drumming, razor-sharp guitar shrieks, venomous vocals), unsurprisingly paired with a memorable music video. The same goes for Sister Silence, Brother Sleep. This track is also relatively catchy, with its symphonic tones, memorable melody, and sing-along-worthy chorus, all fitting within the nocturnal context.
Sister Silence
Brother Sleep
Bear me forth
To that place beneath
Mother Darkness
Farther Death
Give to me All
And now nameth
That’s just how it is!
Tafkads: I could, of course, single out Black Geminus because the eerie ambient atmosphere is so different from what the other tracks bring. But for me, the true highlight of this album is the track that follows it. It’s as if the members of Akhlys need to feed on the darkness to regain their strength, only to return in full force with the unparalleled Sister Silence, Brother Sleep. I think this track deviates the most from what we know from Melinoë, and perhaps that’s precisely why I find it such an intriguing song.
Sister Silence, Brother Sleep has two significant strengths. First and foremost, the melodies emerging from the guitars and synths are more engaging and linger longer. On one hand, they convey more emotion than the other tracks; on the other hand, the melodic guitar theme in the song’s final section clings to your brain for an incredible amount of time and is beautifully integrated into the music. Second, the track features a kind of chorus that builds on the song title, which will undoubtedly shine live because it’s wonderfully scream-along-worthy. Truly a standout track and certainly a highlight in their oeuvre.
Who will enjoy this record?
Bart Al Foet: People with a strong need to escape everyday life. People who can no longer cope with yet another orthodox black metal record that stays neatly within the lines. People who like to let others know how sick and tormented they sometimes feel (especially because of certain other people). People who need the most deeply orchestrated chaos to drown out all the voices and programs in their heads. And oh yes, insomniacs.
Tafkads: People who have lives that are way too quiet, who are always dreaming of rainbow unicorns and cotton candy, and who are unhappy in their jobs because they’re bullied by their superiors. Screw it all: unleash the darkness within and forget your miserable existence for 53 minutes. Become a god in the depths of your thoughts: a dominant, dark tyrant greater than life itself. Also, anyone who is a fan of this band or enjoys energetic black metal with a dark industrial edge will find plenty to enjoy here.
Album of the year material?
Bart Al Foet: Is that really still a question?
Tafkads: Absolutely. This is top-notch work.
Score Bart: 92/100
Score Maarten: 93/100
Score:
93/100
Label:
Debemur Morti Productions, 2024
Tracklisting:
- The Mask of Night-speaking
- Maze of Phobetor
- Through the Abyssal Door
- Black Geminus
- Sister Silence, Brother Sleep
- Eye of the Daemon – Daemon I
Line-up:
- Naas Alcameth – Vocals, guitars, keyboards
- Nox Corvus – Guitars
- Eoghan – Drums, bass
Links: