Presenting Lucifer’s gift to mankind as a fire set by the burning rays of intellect imbued Athens, Greece-based black metal quintet YOTH IRIA celebrate the key that would unlock free will for all as they continue to revive a life’s work spent passing on this ungentle reminder through the density of fast-cycling, dead-eyed generations. From the old guard and the new this sophomore full-length, ‘Blazing Inferno‘, translates an ancient cult-borne and ruddy form of devotion into a highest-possible standard of render and expression. Kept simple in statement yet entertaining as melody driven and intricately voiced black metal with a uniquely Hellenic heavy metal spiritus this second coming is pure inspiration for the devotee and a finely crafted, memorable experience most black metal attuned folks should find redeeming.

Yoth Iria formed circa 2019 by the will of Jim Mutilator a bassist, songwriter and lyricist who was directly responsible for the Hellenic black metal sound and its legacy via co-founding Rotting Christ and playing an integral role to Varathron‘s formation and development early on. Zine editor, music store owner, and lifetime fan most Mutilator‘s explanation as to why he’d returned to back metal speak to a sense of belonging moreso than ownership, though all that he’d create under this new band has been consistently authentic to the Greek black metal sound he’d help propagate ages ago. Of course the early line-up also notably featured the equally venerable creator of this sound The Magus (Necromantia) on vocals alongside drummer J.V. Maelstrom (Embrace of Thorns, Violent Definition, et al.) as well as contributions from George Emmanuel (Lucifer’s Child) including both guitar and engineering/production. This team more-or-less carried through all of their work from 2019-2023 with the ‘Under His Sway‘ (2020) EP speaking to what the two legendary folks had brought to other bands in the early-to-mid 90’s as well as heavy metal in general, a feeling which was amplified by their “The Red Crown Turns Black” song from a split with Kawir that same year.

There was a lot of weight placed upon ‘As the Flame Withers‘ (2021) to be the second coming, or, the return of classic Hellenic black metal as evidenced by the need for many critics to speak to the history involved but it wasn’t a nostalgic release… rather one from folks who’d never dropped their interest in black metal, or at least weren’t trying to relive the 90’s head-on. Brilliantly polished, driven by a steady rhythmic charge and a heavy metal gait Yoth Iria made the right choice in establishing themselves with their own sound which was adjacent to the old ways without pandering directly. If we must consider it contemporary black metal then well, either way the right feeling was there and their expectations were largely set skyward going forward and… despite the very different sounds explored on the 2023 EP ‘Flame of the Whirling Swords‘. Beyond that point the line-up of the band had changed to allow for live performances and fully flesh out touring ability and/or any demands made of ’em. This of course gives ‘Blazing Inferno‘ an entirely different feel and sound which is yet hi-fi and glorious in its rich, layered sound but also enriched with loftier dramatic tension.

Taking the reigns of the old coffin spiritus. — While I will stop short of suggesting that ‘Blazing Inferno‘ sounds like Rotting Christ in its anthemic, intricately delivered melodic black metal style there is of course some relation via certain sensibilities that’ll allow for Yoth Iria‘s latest to inspire a similar fandom. The high standard of lead guitar melodies is a major contributor to this thought as both flourish and main driver for many of these songs lands upon sweetly arranged, sometimes rocking leads that give us a strong tinge of the old cult but from a sublimely polished, fully pro result. Opener/title track “Blazing Inferno” warms up the mind in this regard, down to the last palm mute they’ve delivered narrative and flexed a bit of their melodious muscle enough to cue the Hellenic black metal addicted mind into action. The slap right into “But Fear Not” and its sentimental lead might even sent the mind towards, eh, something like ‘Theogonia‘ for a moment once they’re hammering at full stampede (see also: “Purgatory Revolution”) but in no real way should anyone find the full breadth of Mutilator & co.’s songwriting plainly referential of the past. The engine is starting, all elements are firing up as some traditional instrumentation and additional vocals give some great mystic assurance to the devout. The spiritual quality of the music and a twist of nostalgia make the entryway into this realm particularly fascinating, redeeming as the product of a neatly stated compositional hand with a subtle touch.

“In the Tongue of Birds” is perhaps one of the finer singles to hit the melodic spectrum of black metal this year in terms of heavy metal/hard rock structured fanfare directing a dark metal sound. We cannot escape the glowing hands of Yoth Iria‘s touch which amplifies classic Greek black metal theatre into something larger than itself. It is also a chance to warm to and acknowledge the overall use of tension and worthy excitation, patience and immediacy employed in very simple ways on ‘Blazing Inferno‘ which warm to the listener to quite accessible melodic metal ideas. I’m not saying that this song is intentionally writ to amplify the bones of records like ‘Triarchy of the Lost Lovers‘, we’ve other more direct records that might fit better, but when we hit the ~2:34 minute mark it is as if these guitarists have unearthed an ancient scroll of knowledge (via a bit of palm muting) that lends a small but special moment among many; While the tone of this album remains consistent and directly set throughout this doesn’t hinder these details gathering in mind and adding weight to the larger experience. Side A generally gets this point across well at a consistent mid-paced clip delivering fairly straight forward pieces which balance referential techniques and melodic tics with sleekened presentation. It might not be as sinister, ugly or blazing fast as some die-hard Hellenic black metal minds would want but here we get something feasibly on the pro-level of nowadays Varathron and Rotting Christ.

Of course the pace eventually spikes here and there with the steady rise of “Mornings of the One Thousand Golds” being largely comprised of its epic build and escalating wah-pedal swelled core riff and trampling refrains. This helps the increasingly heady, distant thunder of Yoth Iria to not fade into sleep particularly as the rousing kick of “Our Father Rode Again His Ride” brings their melodramatic touch and some traditional heavy metal wheeling back into view, even resulting in some clean vocals which are especially effective. Again, these songs typically rise to a great point of reveal and make their point before quickly finding a way to sew up the wound, rather than repeat a chorus indefinitely or toss in a few more verses each song reaches its goal and steps away as soon as possible, often avoiding the need to play-out a song with a big guitar solo. While this keeps ‘Blazing Inferno’ at a taut and easily enjoyed ~37 minutes in length it does feel like they’ve chopped it a bit too tightly as the closing piece (“We Call Upon the Elements“) begins to soar with its triplet scraping roll, avoids forming much of a statement beyond the core lead guitar hook and one refrain, before simply chugging out and hitting “stop”. For all of the work put into building the return of these folks back in grand fashion, all of the dramatic fanfare that greets the ear to start, the endpoint here is anticlimactic to an unsatisfying degree. That said, they’d kept the energy up and the vision for the album reads as complete otherwise.

Beyond the greater shape of ‘Blazing Inferno‘ and its steady yet subtly formed melodious energies Yoth Iria once again shares with us the wizened philosophy of Mutilator in both direct and indirect speech. What ultimately forms is a narrative which begins with an empyrean clash and eventually relays a series of mythological-level events which speak to freeing the self of that which controls you, be it religion or fear itself. Having my own formative experiences with black metal delving into his lyrics via other bands to me this is akin reading a favorite author decades later and finding those guiding principles, that voice upheld in righteous spirit. This in concurrence with the music itself of course speaks to both nostalgia and a sense of moderne refinements, creating a strangely easy record to fall into for hours at a time. With consideration for the cycle and running order itself the loop wasn’t always perfect when left on repeat yet I couldn’t deny that most every song on this album held its own in succession and when singled out piecemeal. Much in the way that the latest Deviser release felt like a collection of anthems, not all of which flowed from piece to piece, this experience feels like certain moments are clear single-worthy excursions whereas others provide the momentum the album needs to tarry on.

Fine art direction, exceptional production values, a well-enriched sound per their quintet built line-up all speak to Yoth Iria confidently expanding in scale to suit their increasingly focused and artfully struck craft between hail-worthy tradition and a high modern standard for melodic black metal. ‘Blazing Inferno‘ offers more than a follow-up in this sense but rather a broader realization of potential likely to speak even more directly to the Hellenic black metal fandom at large while also offering something satisfyingly dark and meaningful for the elder guard. As a inordinate fan of this style of music this feels like a obscenely high standard set without any blandly obviate fanservice, the right balance of elements struck which allows the conviction behind the music to convey successfully on record. For my own taste it has been a steeling, inspiring experience to delve into thanks to is approachable and easily enjoyed effect and an album which only reinforces my faith in the old cult.

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