Enduring scathing traversal of the shadow self in a process intended to scrutinize long-held beliefs Houston, Texas-based black metal quartet NECROFIER deepen their understanding of Luciferian magick on the road to transcendental gnosis on this ambitious third full-length album. ‘Transcend Into Oblivion‘ still finds the band well-rooted in their taste for Scandinavian black metal tropes amidst somewhat typical USBM reactivity but in the process of divining purpose the band’s work explores far deeper nuance than expected. In this way their work delivers a more serious, focused and affirming result despite having gone bigger with a three-sided concept album.

Necrofier formed as a trio circa 2018 between folks associated with progressive metal band Oceans of Slumber and heavy/doom metal troupe Venomous Maximus among many others better known names since. Amongst their persisting lineup their ranks notably feature drummer Dobber Beverly who’d played drums on one of the first records I was ever sent for review (via a print publication) in ‘Salvation Through Infinite Suffering‘ and the rest of the original quartet formation also feature(d) in death metal bands Malignant Altar and Terror Corpse. Point being that their resumes do not reflect black metal output prominently prior to the formation of this group. Their initial output, an EP (‘Visions in Fire‘, 2018) and debut LP (‘Prophecies of Eternal Darkness‘, 2021) generally reflected USBM under Scandinavian influence in the sense that thrashing, guitar-driven ideas were given a sort of rocking edge beyond a few melodic black/death metal inspired pieces (re: “Death Comes for Us All”). I don’t know that there was a compelling enough idea in hand beyond above-average competency during that initial showing, it was average stuff.

It’d been the second LP (‘Burning Shadows in the Night‘, 2023) from the band that’d begin to speak to a melodic black metal adjacent directive more clearly, albeit a roughly hewn mid-paced form with little interest in Norwegian keys-heavy sounds or the fluidity of earlier Swedish forms. With that said there did seem to be some love for Bathory (or, folk/black metal: “Forbidden Light of the Black Moon”) inserted into each of their first two full-length efforts. There was an idea there but it was all a bit faceless, lacking in cohesion beyond pacing and a “heavy metal” feeling stride. In the messaging for this album the suggestion is that it best realizes their vision in the sense that is bears one central theme fed by all of its parts and thusly presents personage and style with greater coherence via its ‘three act’ structure which’ll make more sense once you’ve sat down with the running order.

Those three acts detail what is described in auld Christian terms as a ‘dark night of the soul’, a period of auditing the self, and one’s faith, which equates to an ego-death and rebirth… but in this case the Luciferian take centers itself in developing individuality, or, singularity one’d suggest as transcendence. ‘Transcend Into Oblivion‘ thusly acts as a dramatization which reflects the psychic torsion of the author, I am not sure if this is a real spiritual pursuit or a fantastical narrative but either way it cuts away some of the vague purpose found on previous Necrofier releases. It also helps to have some narrative sensibility to follow along with as the band pull through nearly a full hour of music and twelve pieces, a taxing stretch even considering the patience already exerted on past releases.

The first three songs which introduce ‘Transcend Into Oblivion‘, “Fires of the Apocalypse, Light My Path” parts I-III, each contribute as separate pieces and not one continuous movement chopped into thirds. In depicting a fiery internalized awakening these songs are fairly uptempo, driven by stamping beats and circularly melodic guitar runs which again reflect interest in Scandinavian black metal most directly. Choral keys, toppling drum fills, brief choir-like calls, and breathily snarling vocals lend an empyreal feel which is threaded through each. Just a few songs into this sizable work the indication that this’d be a much finer work from Necrofier seems to be holding water as the energetic, highly detailed and nuanced work (see: “Fires of the Apocalypse, Light My Path Part III“) here already feels leagues removed from the halfway-there ‘epic’ strokes of the two albums prior.

Beyond that original point of questioning all the lights’ve gone out and the expanse grown with the introduction of “Servants of Darkness, Guide My Way Part I“, a chasmic starter which may not be the most substantive composition on the album but an entertaining call into the middle third of Necrofier‘s trip. The guitar work found on part two of this section offers a general highlight for the full listen first per its initially thrashing rhythmic diabolism and then later the chaotic wall of keys and shred which clash at its mid-point, it almost begins to sound like a deconstruction of mid-90’s Satyricon‘s fundaments on the way through.

In the the third act, another three part stretch (Side C) entitled “Horns of Destruction, Lift My Blade”, the individual celebrates some manner of actualization via new perspectives and a changed mind. Though I don’t know that Satanic enlightenment resembles the urge to conquer so much as celebrate self-rule, these songs again do well to illustrate some sense of violent empowerment. Part one will be the most familiar arrangement here in terms of recalling the most prevalent style found on Necrofier‘s two previous records. I am a big fan of hourlong records which intensify toward the end, either in terms of detail or pace or both, but here the connection is somewhat lacking in action as the narrative reaches its plateau. This paired with the not-so consequential filler “Toward the Necrofier” tacked onto the end feels like less than a grand exit or pointed finale beyond passing time.

Without a doubt ‘Transcend Into Oblivion‘ is the most complete thought, the finest full-length experience released under the Necrofier name to date as we find “going big” with an idea generally pays off here. While the production values available here are crisp enough they aren’t wildly stylized but this is made up for with a nigh double LP length and an ambitious structure. Likewise artwork by the indomitable José Gabriel Alegría Sabogal elevates the experience beyond sonic lustre with evocative, fluid illustration suitable for an album themed on self-divined spiritual actualization. All of the pieces fit in this sense though the impact of the full listen is largely loaded within its first two thirds as the finale sputters a bit at a point where the most inspiring impact should’ve been planted to suit the theme. This work is nonetheless an entertaining step-up for the group which rewards the patient listener with a well-curated hourlong spiritual transformation. A moderately high recommendation.

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