Mystic Circle’s new album, Kriegsgötter MMXXV, emerges as a definitive chapter in the band’s storied career whilst paying homage to their biggest influences. Known for their unrelenting black metal aesthetics and occult-themed lyrics, the German duo has once again summoned their dark energy to craft a record that is both punishing and immersive.
Mystic Circle began their journey in 1992, carving out a niche within the German black and death metal scenes. Early in their career, they were lauded for their theatrical stage presence and their unflinching embrace of the occult and satanic imagery. Albums like Drachenblut (1998) and The Great Beast (2001) solidified their reputation as purveyors of unholy anthems. At the turn of the millennium, they released a 5 track EP called Kriegsgötter II which was a compilation of both cover versions and new recordings. After disbanding in 2007, the band made a triumphant return in 2022 with their self-titled album and Erzdämon (2023), rekindling the fiery ion of their heyday. Kriegsgötter MMXXV represents their latest evolution, blending their classic ferocity with modern production and a renewed creative vision whilst revisiting their past.
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Mystic Circle’s sound on this album is a masterful blend of raw black metal aggression and symphonic grandeur. The guitars roar with tremolo-picked fury, while the drums thunder with militaristic precision. Layered over the chaos are haunting choral arrangements and atmospheric keys, which lend an almost cinematic quality to the record. Vocally, the band alternates between guttural growls and piercing shrieks, further enhancing the album’s dark, apocalyptic aura.
Kriegsgötter MMXXV opens with a cover of Bathory’s “One Rode To Asa Bay” just as the Kriegsgötter II EP did 25 years ago, however this time it features guest vocalisations from Sarah Jezebel Deva (previously of Cradle of Filth). Having been heavily influenced by Bathory in the 90s it made sense for the band to include this classic however to bring the current album full circle with its 90s inspiration, they have also included a cover version of Iron Maiden’s “Afraid To Shoot Strangers” which also features Sarah’s vocals.
Founding member A. Blackwar says of the Bathroy tracks and Sarah’s involvement:
“When we were recording, we had defined all the keyboard effects for “One Rode To Asa Bay” and we knew it was going to be a killer. When Sarah Jezebel Deva heard the song in the studio, she went straight to the recording room and spontaneously started singing without us having planned or agreed it. We stood in the studio and just looked at each other, shook our heads and were speechless. The result is epic. The decision to cover “Afraid To Shoot Strangers” and release it on the new edition brings the band full circle to the past. “It’s good that we’ve done it 25 years later, it wouldn’t have been the right time back then. Now it fits our vision, also Sarah Jezebel Deva was immediately back on board and her vocals ennoble and complete the track”
“Die Götter der Urväter” is a re-recording of one of the band’s rarer tracks which is sung entirely in German. Opening with acoustic guitar and ethereal synths, it generates a dark and dramatic atmosphere before launching into a heavy cacophony of booming war-like drums and intricate riffs full of dense melodics before the venomous rasping vocals come into play accompanied by intense tremolos, haunting synths and rapid blast-beats. “Azazel’s Soulfy” is instantly eerie and unnerving with dramatic orchestration which wouldn’t be misplaced in a horror movie; this also appeared on the 2000 EP. Creepy vocalisations, piano, synths and sinister string instruments, this track is entirely instrumental. However, two entirely new tracks include “Cry Little Sister” which is the opening theme of The Lost Boys and a cover of Possessed’s “Death Metal” which is featured on the iconic Seven Churches album. The former captures the 80s era of the famous track whilst injecting the band’s trademark black metal sound, expertly contrasting with the ethereal “thou shall not fall” female backing vocals. The latter is evil, frantic, full of intense riffs and blast-beats and a screaming guitar solo. The pacing is rapid and the vocals are rasping and powerful, paying homage to the classic track in Mystic Circle’s unique style.
“Acheron (Medley)” is nothing short of insane and brutal. The band Acheron made headlines in the 90s for its association with the Church of Satan therefore a cover of this band fits in well with Mystic Circle’s themes of occultism. Blistering riffs, thunderous drums, harsh melodies and deafening guttural growls complete with church organs makes this track incredibly evil yet captivating. Finally, the album closes with an epic cover of Celtic Frost’s “Circle of the Tyrants” capturing the essence of the 80s with its chugging guitars, unique drum tones, dense basslines and demonic atmosphere.
Kriegsgötter MMXXV is a testament to Mystic Circle’s enduring power within the black metal genre. While it may not break new ground, it excels in delivering a polished, atmospheric, and conceptually rich experience. The band’s mastery of their craft is evident, and fans of both traditional and symphonic black metal will find much to ire here. In the end, this album is about paying homage to the greats whilst showcasing Mystic Circle’s incredible artistic abilities.
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Kriegsgötter MMXXV is out on June 6th via ROAR
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