Having dug loose the carcass of an unworthy, fallen creator and trampled it down in deeper repudiation our solemn archon in Nisterau, Germany-based Satanic black metal quintet CHAOS INVOCATION now illustrate their fifth angle, a scripture on liberation. A dramatic escalation beyond their most primal, mayhemic turn ‘Wherever We Roam…‘ gathers all mastery into fuming conviction as these fellowes reinforce collective purpose, slowly expanding their reach into a few unknown but not unheard of realms on this choice fifth full-length album. Steady in its classics-minded foundation yet still arcane in spirit the ever-expanding vision of the band only gains additional gravitas here as their singularity enriches in gnarled and freshly dramatic directives, finding paths which deepen the hailing melodicism and cutting mayhem they’ve become known for over the last two decades.

Chaos Invocation formed circa 2004 intent on delivering Satanic music which is authentic to the convictions of the folks involved. Typically a vision of composer and main guitarist A. (Porta Nigra, ex-Crescent), various configurations would produce blistering, eruptive yet melodic ideation on a series of three full-lengths from their debut LP in 2009 through the release of ‘Reaping Season, Bloodshed Beyond‘ (2018) an album which’d been a peaking statement, showcasing a band repeatedly elevating their craft. That third release was a sleeper hit per my own interest wherein I recall mentioning classics from Dissection and Satyricon as well as the orthodox black metal movement in description of their blood-frenzied melodicism. From that point they’d had some major changes in the line-up and eventually released a staunch revision of their dark, primal sound in the grittier ‘Devil, Stone & Man‘ (2022) which I’d reviewed favorably for the passioned primal majesty brought. Getting a new album from the group two years beyond the last leaves me without any specific expectations built beyond sharp sound design for the sake of the band once again working with the undeniable V. Santura @ Woodshed Studio (b/w Davide Gorrini per the drum recordings) and the swap to the moderne-classic and oft melodic reaching roster AOP Records.

‘Wherever We Roam…‘ once again benefits from rich sound design which is specified to their personage, an approach to black metal which is neither flatly 90’s obsessed nor post-music minded but attuned to a certain level of flexile attack. This time around Chaos Invocation‘ve elected for a different pulse, a sleeker presentation in terms of sheer speed and melodic interest which gives plenty of room for the drums (via Omega of Darvaza) to rattle and kick up front while still crashing in surround next to a raw, low-tuned bass guitar presence (via R.K. of Purgatory). We can find this dynamic most strikingly representative on the opener and “Ideal Sodom” up front and “This World Wants Us Dead” later down the road. This approach might initially recall the peaking sluice of venom found on their third LP, and by all means that level of energy and precision wrath is dialed in here, but I would suggest that this is an album intent on expanding not only the furor of the band but also their melodious, anthemic voice. There is more to the first impression at least, though we could tangentially suggest a continuation of all that was new on ‘Devil, Stone & Man‘.

The fuming entrance of this album does actually feel attuned to a classic mid-to-late 90’s current to start as its shorter, fiery title track/opener (“Wherever We Roam”) introduces this lead guitar driven melodicism in its most grant arcing front to date. To be sure this isn’t out of line for the group beyond their first couple of albums, and for some it’ll be a straight forward vehicle in some sense, but for my own taste the directness with which Chaos Invocation attack their opener brings vitality enough that momentum is almost immediately granted to the full listen. Where we find classics-minded thunder striking hottest comes with the push into aforementioned highlight “Ideal Sodom” from the opener which to me reads as the bones of circa ’96 black metal sans any fantasy metal clownage.

Though their stampede-in with the first couple of pieces is dramatic and imbued with molten movement it’ll be “Golden Gates and Terrene Light” that reinforces ‘Wherever We Roam…‘ as something freshened and increasingly singular for the group as one of the more memorable anthemic stances from the band to date as we begin to consider interest beyond Dissection tinged arcing threads and Bathory-isms (re: Watain, Outlaw, etc.) It is also as another piece which showcases ambitious use of vocal layers and techniques, in fact each piece on Side A either features some extra layer from a guest contribution or brings in guitarist A. for the lead and this goes a long way in making the introduction to this album not only ear catching in its inspire but also immersive in its curation. By the time “Bridges Aflame” reaches its peaking declaration in its final third it should be obvious enough to the keen ear that this is an inspired release and one which manages to reach deeper into their wells than before.

We’ve gotten the bluster into view, the heated edge of Chaos Invocation‘s reach implied on the first half of ‘Wherever We Roam…‘ and by the time we reach the threshold with the quick and dirty battery of “No Throne Withstands” it feels like the album has basically had its say. The choices here seem obvious enough in the realm of black metal, potentially limited to: Doubling down unto variations on a theme, going “bigger” with their presentation, and/or pivoting… introducing some manner of new voicing or technique (see: “This World Wants Us Dead”) to carry through the remainder of the ~44 minutes available. They’ve done a bit of everything in the final three pieces and without losing the shape and tonal consistency of the full listen on the way through. The piece to highlight here is naturally “Only in Darkness” for its extended length and use of ghostly choir keys throughout as a host of subtle guitar techniques bring the band’s vernacular into a slightly more cinematic scope. It isn’t exactly a post-black moment though we do feel the strictures of pure classicism loosen to suit the intent of the song and the loft its reach. At the very least there is a high felt nearby the endpoint of the full listen rather than a cold fade out.

The ultimate reach of ‘Wherever We Roam…‘ lands upon a destination which is different but not wholly separated from the point of entry given. The more declarative and grand in each arc delivered the more their work implies theme and narrative are developed within the glom of black metal pieces on offer. While I’d argue that Chaos Invocation have presented more complete balance in a running order/tracklist before the overall progression and the way they’ve sewn together key pieces here makes for a captivating, dramatic ride through. When left on repeat this linear feeling step from start to finish is emphasized and without question the first half is the most engaging portion of the whole deal, though I haven’t written off the deeper cuts available to the tail-end; Otherwise I’d felt as though these folks probably have more compositional depth to offer to longer form pieces but the way things’ve been writ here offers respite and differentiated movement, making for a listening experience which isn’t entirely demanding of a focused ear as they ease upon the detail for the sake of bigger gesturing.

Between a choice render, heightened dramatism, familiar signature movement alongside new ideals, and an equally high standard upheld for their aesthetics (cover art via Khaos Diktator) ‘Wherever We Roam…‘ can be considered a rare case of a sleeker, arguably more “modern” approach can in fact enhance the expressive reach of a band who’re so deeply rooted in hard-flexing classicism on some level. While we cannot accuse Chaos Invocation of becoming an amorphous, estranged cult away from their own traditions se there is some positive change occurring in their work which makes for an easily approached yet still vitality stoked black metal release this fifth time around. Though I’d felt the second half didn’t quite uphold the full energy of the first I was still left with a well above-average black metal record which stands out often enough to stick in mind into the future. A high recommendation.

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