Artist: In Twilight’s Embrace
Country: Poland
Label: Cold Weapons Music
Formats: 10″ EP
Year: 2023
Without any doubt, ‘Lifeblood’ by In Twilight’s Embrace still stands as one of my favorite records of 2022. And while many records lose their radiance over time, I personally find myself more and more immersed in its darkness. Their gained expose since that album has certainly resulted in a broadening of the Polish storm to as far as the stages of the renowned Beyond the Gates festival in Bergen, Norway. In late 2023 the vinyl release of the band’s sixth album finally saw the light along with re-issues of the preceding ‘Lawa’ and ‘Vanitas’ records, but those that patiently awaited those vinyl editions were in for one more treat: with ‘Eden of Iniquity’ the band presents a brand-new release in the shape of a 10” EP containing one new track and a cover.
To say that ‘Cutting Down the Trees of Eden’ follows closely on the work of ‘Lifeblood’ is stating the obvious: the new song, that was recorded in 2022-2023, fits seamlessly with the previous record. Furious in its initial execution with twisting guitar lines, the song reminds me of tracks like ‘Smoke and Mirrors’ in intensity. As it progresses, ‘Cutting Down the Trees of Eden’ takes on a more elated twist that brings forth an almost bombastic sound in which the dark rocking qualities of the band excel. Once again a gorgeous amalgam of blistering Black Metal and Morbid Rock, its subcutaneously developing melodies and intricacies showcase that the future beyond ‘Lifeblood’ is bright and promising.
With ‘Ostatnia chwila’ we then find the band covering the act Dezerter. Released in 1994, the song could be described as a sign of the times, raising awareness of humanity’s effect on nature. Bearing a Grungy Punkrock vibe, the original recording to me sounds closest to the band The Offspring on their breakthrough album ‘Smash’ that was released in the same year. In the more grooving parts of the song, the rendition of In Twilight’s Embrace takes that Punk sound and adds something different from the mid nineties in the guitar sound of Paradise Lost on records like ‘Icon’. But in the more uptempo parts, the darkening layer of rasping vocals, sharper guitars and more intense drum patterns give it that distinct Black Metal touch. While clearly a more Punk based approach than the own work of In Twilight’s Embrace, the band’s signature is clearly audibly in the rocking sections as well in the much more intense drum work.
With a limitation of 222 copies and given the immense and, in my humble opinion, justified success of ‘Lifeblood, this is not a release to sleep on. It both shows a bit of the band’s roots as well as their development into the unique act they are today. Furthermore, it clearly indicates the band is unrelenting in their mission to delve further into the glorious darkness that made ‘Lifeblood’ such a breathtaking record.
