Theurgistic soul-summoning practices amount to fealty-stricken acts of devotional mantra herein as feats of hymnal merit and invocations of divine symbols are aggrandized per this formidable ninety-minute long double LP as DEATHSPIRAL OF INHERITED SUFFERING, ELYSIAN BLAZE, PANEGYRIST and MAERUND align arm-to-arm, cross to cross. Lament for fallen Aldebaran, erudition gained from a glimpse of the Underworld, passion for Lucifer/Jesus Christ, and repeated bows to the Master before a baptism in Hell… all collect in mind as the expressive cast behind ‘Sunthema‘ essentially testify through symbolic and gestural feats, aligning beneath avant-garde/progressive black metal purpose. A label showcase for long-deposed acts as much as it is a conjoindre of esoteric spiritual convictions, this collective work does a fine job of presenting each artist under sublime conditions.

The last we’d heard from Memphis, Tennessee-based black/death metal quartet Deathspiral of Inherited Suffering was a 2023 released demo, a trio fairly sophisticated sketches which seem to translate directly into their work for ‘Sunthema‘. They’re otherwise best known for a 2018 released split, ‘Metamorphosphoros‘ (also from I, Voidhanger) alongside a couple of other bands/projects who’ve been even less active since. Their work is chiefly illustrative, linear yet eclectic in movements rather than all at once, more often than not direct by the riff and the most “metal” tendencies of black/death metal. Gilded by interest in industrial, electronic and/or ambient concoct in transit each of the band’s three included compositions are sewn together by their musing upon death and rebirth, some manner of personal conviction reborn so to speak. Opener “Grailcrushing Wounds” sets a standard upheld throughout with plenty of room for their percussive, riff-driven approach to knot itself into intricacy in the process. This is probably going to be the most rewarding, instantly gratifying work on the split for ears most attuned to big riffs, death metal stoked movement and their abstraction of such is a highlight for my taste at least.

The last we’d heard from Adelaide, Australia-based atmospheric black metal artist Elysian Blaze was a 2018 released single (“The Virtue of Suffering“) some six years beyond their incredible triple LP opus ‘Blood Geometry‘ (2012) and before he’d joined the comparatively crude and ruthless Diabolic Rites. Often compared with Nortt for their mid-2000’s set focus on atmospheric black/funeral doom metal and dark ambient adjacency but well-evolved between releases there’d been no indication as to what Mutatiis‘ work would entail in the context of this split but the result is not so far from his previous single, a similarly long and varietal trip through variously hymnal and guttural exchange. “Ascenturion” reads as proclamation, again adding to the split’s overall signets to salvation and resurrection as the artist uses reverb and perceived space to generate both intimacy and grandiose congregation sized chorus. Majestic as this uprising is around ~11:30 minutes in he chops into a big thrashing down-stroked riff and almost trivializes the heady celebrant tone of the piece and chugs out. I’d like to hear a full album in this style, wouldn’t need to be two hours like the last.

The last we’d heard from Chicago, Illinois-based progressive black metal quintet Pangyrist was (again) back in 2018 when they’d released their eclectic yet not-so daunting debut LP (‘Hierurgy‘, 2018) where the timbre of Norse (and U.K.) prog-black met with spiraling, occasionally disso-edged pieces that’d come closer to progressive rock’s narrative temperament than most extreme metal tends. For the two ~12.5 minute pieces included here they’ve generally give reprise of that dynamic while incorporating additional vocal layers and techniques to drive their course, less concerned with the gnarl of the riff and moreso the revelatory gust of their choir. Of the two pieces “Luciferous” takes a decidedly more wrinkled path, emphasizing the power metallic vibrance of their own style a bit via its earlier tangents ’til the thread crosses its own wires into dueling pull between Sigh-esque shred and Solefald like soar. It is also the song which probably calls for the most interpretation via the lyrics, though I’ve long lost all interest in Abrahamic religion and discourse I was left wanting elaboration on the idea of “Luciferious Christworship” beyond the obvious. I get a bit lost in the spiraling-upward vaunt of it all but wouldn’t deny the inspirational quality of their work. Would like more riffs, though.

The first we’ve heard from Maerund comes via the four pieces which close ‘Sunthema‘, introductions to the tune of raw and atmospheric black metal from Maerund Arednum Eremite who is one of the founders of the Rubeus Obex label (alongside Elijah Tamu of Panegyrist). Perhaps playing upon the themes introduced within Panegyrist‘s work there is an embrace of both fire and light within these four songs which is vexing yet compelling, ideas I won’t bother to elucidate with any coherence that’d caught my interest nonetheless. Though I’ll admit I was expecting these pieces to be tacked on the end as lesser scrounging the thrumming repetition and heavily percussive respite/transitional movement traded within each offered a peaking point of immerse as finale. Their vocals occasionally reach a point of squawk which doesn’t always work at thier most incensed but the quasi-group sung parts on “Manna Pharamakeia” and especially “Red Crystal Lattice” bring distinction to the larger thread achieved. For my taste this was the most compelling, focused sluice of the lot.

Rating a ~92 minute double LP writ between four very distinct artists is troublesome for the sake of finding any sort of holistically representative agreement, though I will say that these acts make sense together in glom. Though it ultimately reads more as a compilation than a split album when taken in via a single sitting the final render of all four bands aligns well, each finding similar landscaping for their expression while remaining stylized. If we can receive these works as steeling for what’s to come with future Rubeus Obex output I believe the impact of ‘Sunthema‘ bodes particularly well. Likewise Tamu‘s cover/inner illustrations are a remarkable boon to the experience, warranting a closer look and listen with the final product in hand. A moderately high recommendation.

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