Enlightened by the silvery blue glow infiltrating the edges of the shadows in surround Belgium-based melodic black metal duo ARCHAIC OATH stand at their own forge of ancient darkness having satiated the will to create classicist informed craft on this richly realized debut full-length album. Though its entirety is informed heavily by the grandiose past of Scandinavian black metal’s melodic and most dramatic highs ‘Determined to Death and Beyond‘ errs on the side of modern black metal implement rather than authenticity-obsessed “retro” musings, making for a familiar and referential experience which fleshes the dramatic atmospheric idyll intended. For the niche obsessed their efforts should provide a pleasantly cross-eyed vision of both past revision and present standards where some remarkable ideas are forged in the midst.

The folks behind Archaic Oath first met back in the mid-2000’s, each having been involved in various melodic death and black metal bands since the 90’s, but they wouldn’t form the band together until recently. Guitarist, bassist, drummer and general composer Lykormas (Hemelbestormer, Lhaäd, et al.) and vocalist Arneriach (Marche Funèbre, Hail Spirit Noir, ex-Ecliptica, et al.) sought to recall the spirit and sound of melodic black metal rooted in the ex-death metal tracts of Sweden in the mid-to-late 90’s, reflecting their roots in reach of the second wave. This is a loose guideline which informs the shape and tone of their interest rather than hardlined retro fixation as we find ‘Determined to Death and Beyond‘ deploys both broad and highly referential strokes to Dissection-adjacent impetus while providing a generationally evolved “modern” melodic black metal ideal beyond said core reference.

Consider the inspiration of Norwegian black metal upon ‘Storm of the Light’s Bane‘ and then translate that framing into modern atmospheric/melodic black metal of the last decade and you’ll have a decent enough idea of what to expect from ‘Determined to Death and Beyond‘ at face value. Opener “Above the Ice” won’t get this point across immediately but does sport the textural froth of Swedish melodic black metal of yore alongside movements which indicate clear Norwegian second wave interest wherein the band’s interest in Emperor (the album closes with a cover of “Ye Entrancemperium”) or the first couple of Naglfar records at least, shines alongside a few galloping riffs you might’ve found on the second half of Varathron‘s ‘Stygian Forces of Scorn‘. The effect is fittingly dramatic as the duo convey a broad range of both vocal oeuvre in layers and an above-average tuneful but not-so dryly linear set structure.

The empyreal hum of distant keys, diabolically scaling riffs and a crow-like wail introduce standout “Wrath of the Witches” as the band present a similarly complete flexion between 90’s black metal tropes and fleshy atmospheric runnel. This song, alongside “Into the Temple of Light“, (again) sources a semi-idealist connection made between the stabbing rush of Norwegian black metal post-’94 and ‘Storm of the Lights Bane‘ era Dissection (see: ~2:19 minute mark) most clearly. If we are pointing to ancient analogues beyond obvious the tone and timbre ‘Determined to Death and Beyond‘ is arguably more relevant to the legacy of ‘Far Away From the Sun‘ (or anything from Thy Primordial) per its textural richness, keys and contrapuntal excess excluded but this is where the most obviate nostalgic reference will be stoked. We could also consider similar face value inspiration taken from Eucharist per the acoustic guitar performances (via Kristof Vandebeek) which are included in several songs in addition to the mid-album interlude provided by “Requiem for a Doomed Soul”.

The point to make here isn’t so much that one can recognize the intent of the artists here, there is no veil applied atop this fact, but rather that they’ve done a fine job of incanting those traits and sounds without wholly watering them down into pop-metal or atmo-slop. The referential vibrancy of this album is neatly packed into its first ~two songs and the remainder is spent pathing a way forward through it; Though I don’t believe the arrogant, austere command of the mid-90’s is wholly achieved herein the sweeping emotional course of Archaic Oath‘s version of melodic black/death metal is entirely viable as melodramatic and at-times ‘epic’ vision in its soar. “Abysmal Ascent” is the quickest hitting version of this as a heavy metal informed and soldiering epic sparked up via haunting clean vocals and striding melodic trudge through. For some this could be seen as dark metal/gothic in affectation but that’d be well in line with the late 90’s zeitgeist anyhow. I mention this less as a purity test and moreso to point out where these folks evolve the idea more than they imitate it, their own vision retains admirably serious-faced, fantastical scour which is well above average for this style circa 2026.

Per my experience ‘Determined to Death and Beyond‘ only increased in potency as it’d played. That isn’t to say that Side B is preferential but moreso that obviate references are mildly ceded in the second half beyond the closer as the searching, fascinated voice of the band ventures into slightly more compelling depth for my taste. In direct contrast aforementioned closer “Into the Temple of Light” offers an inspired endpoint to the album within its ringing leads and acoustic guitar-fed sidebar but beyond “Wrath of the Witches” this might be too referential for its own good as a pin set upon their holistic impression. Otherwise Archaic Oath don’t do a perfect job of recreating the firmament crashing impact of ‘Anthems to the Welkin at Dusk‘ opener “Ye Entrancemperium”, the clean vocals at the end needed to be a bigger moment based on my own nostalgia, but they’ve done the intensity of the song some justice via their approach.

Much as it might appear I’ve categorized and blockaded any too-direct praise of Archaic Oath‘s work here I’d found ‘Determined to Death and Beyond‘ brilliantly immersive, rife with neatly flowing and detail-rich rhythmic ideal from the first listen. The experience which radiates off of these folk’s work should be obviate even without their enduring resumes attached as the level of performance and craft here is commendable from any angle. How original their work is is another discussion altogether and would probably miss the intended vision which suggests reviving these principles is their major goal. Their methodology here is entirely appropriate for a debut album which is strongly curated as well as clear in purpose, my own concern is how much their own interstitial development will stand out in the long-run beyond those ear gripping references. A high recommendation.

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